• Bibliography

    Bibliography

    Bibliography

    Author:

Abstract

This bibliography aims to provide an up-to-date resource of both primary and secondary literature in the field of nineteenth-century British women art writers. The first section, ‘Selected publications’, presents a general overview of scholarship in the field, including examples of foreign-language work on women art writers. This is followed by individual bibliographies for each of the key writers featured in the articles of this issue. Each individual bibliography includes ‘Archives’, indicating where a writer’s principal archival material can be found; ‘Primary sources’ presents a chronological list of the writer’s art/old master-focused publications; finally, an overview of the scholarship on that writer to date can be found in ‘Secondary literature’.

How to Cite: Alambritis (ed.), M . (2019) “Bibliography”, 19: Interdisciplinary Studies in the Long Nineteenth Century. 2019(28). doi: 10.16995/ntn.874

51 Views

13 Downloads

0Citations

Published on
03 Jun 2019
Peer Reviewed

Index

  1. Selected publications

  2. 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)

References

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

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

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

Clarke Meaghan and Felluga Dino Franco (2015) ‘1894: The Year of the New Woman Art Critic’ http://www.branchcollective.org/?ps_articles=meaghan-clarke-1894-the-year-of-the-new-woman-art-critic.

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

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

Clarke Meaghan (2019) “‘Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

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

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

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

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

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

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

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

Jensen Heather Belnap

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

Lahidalga Rosa Martínez de (2001) “‘La mujer, crítico de arte’”, Arbor. (168)309-19.

Lintel Amy M. Von

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

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

Nunn Pamela Gerrish and Campbell Orr Clarissa (1995) ‘Critically Speaking’. In: Women in the Victorian Art World, 107-24. Manchester: Manchester University Press

Palmer Caroline

Palmer Caroline (2015) “‘“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)248-68.

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

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

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

Ventrella Francesco (2017) “‘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)203-09.

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

Ventrella FrancescoConnoisseurial Intimacies: Art Writing, Psychological Aesthetics and the Modernity of the Old Masters.

References

References

.

.

.

References

(1892) “‘Paris Exposition des Arts de la Femme’”, Woman’s Herald. 11.

(1892) “‘Pictures in Venice as Documents about Venetian Women’”, Woman’s Herald. 6-7.

(1892) “‘The March of Ancona’”, Woman’s Herald. 7-8.

(1893) “‘Giorgione (letter to Editor)’”, Pall Mall Gazette. 3.

(1893) “‘A Method of Art Study’”, Daily Chronicle.

(1894) “‘In Old Florence’”, Daily Chronicle.

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

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

(1894) “‘The New and the Old Art Criticism’”, Nineteenth Century. 828-37.

(1895) “‘On a Recent Criticism of the Works of Lorenzo Lotto’”, Studio. (5)63-67.

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

(August 1895) “‘The New Art Criticism’”, Atlantic Monthly. 263-70.

(1896) “‘Philosophy of Enjoyment of Art’”, Atlantic Monthly. 844-48.

(1897) “‘Découverte d’une fresque de Pollaiuolo’”, La Chronique des arts. 345-44.

(1897) “‘Hermann Obrist’s Embroidered Decorations’”, Decorator and Furnisher. (29)116-17.

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

(1900) “Review of Maud Cruttwell, Luca Signorelli (1900)”, La Chronique des arts. 99-100.

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

(1900) “‘Deux tableaux de Jacopo del Sellaio au Musée du Louvre’”, Revue archéologique. (37)300-03.

(1901) “‘Compagno di Pesellino et quelques peintures de l’école’”, Gazette des beaux-arts. (26)18-34.

(1902) “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)255-61.

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

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

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

(1903) “‘A Holy Family by Granacci in Dublin’”, Révue archéologique. (2)21-24.

Williamson George C. (1903–05) ‘Lorenzo Lotto’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-251-52. London: Bell

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

Logan Mary (1904) “‘Tableaux oubliés de collections françaises’”, Révue archéologique. (3)317-21.

(1905) “‘Due dipinti inediti di Matteo da Siena’”, Rassegna d’arte. (5)314-26.

(1905) “‘Italian Art and Milanese Collections’”, Révue archéologique. (2)314-26.

(1905) “‘A Picture by Butinone in the Louvre’”, Revue archéologique. (5)329-34.

(1906) “‘A Picture by Taddeo di Bartolo in the Musée Crozatier at Le Puy’”, Revue archéologique. (7)236-38.

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

(1913) “‘Madonne di Neroccio dei Landi’”, Rassegna d’arte. (13)73-74.

(1915) “‘Dipinti italiani a Cracovia’”, Rassegna d’arte. (15)1-4.

(1930) “‘A Reconstructor of Old Masterpieces’”, American Magazine of Art. (21)628-38.

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

(1892) “‘Some Comments on Correggio in Connection with his Pictures in Dresden’”, Knight Errant. 73-85.

(1892) “‘A Word for Renaissance Churches’”, Free Review. 178-89.

(1893) “‘Vasari in Light of Recent Publications’”, Nation. 271-73.

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

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

(1902) ‘Rudiments of Connoisseurship’. In: The Study and Criticism of Italian Art, 111-48. London: Bell

References

(1890) “‘Interview’”, Women’s Penny Paper. 13-14.

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

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

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

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

Della Monica Ilaria (2019) “‘Mary Berenson and The Guide to the Italian Pictures at Hampton Court’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

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

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

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

Johnston Tiffany L.

Johnston Tiffany L. and Nelson Jonathan (2012) http://berenson.itatti.harvard.edu/berenson/items/show/3030.

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

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

Johnston Tiffany L.Biography of Mary Berenson.

Mariano Nicky (1965) 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

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

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

Nelson Jonathan K. (2019) “‘An Unpublished Essay by Mary Berenson: “Botticelli and his Critics” (1894–95)’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

Pezzini Barbara (2014) ‘Connoisseurship as “the art-element in art”: Three Unknown Articles by Mary Berenson in the Burlington Magazine (1903)’ https://burlingtonindex.wordpress.com/2014/03/19/mary-berenson-burlington-magazine/.

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

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

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

Sorensen Lee‘Berenson, Mary’ http://www.arthistorians.info/berensonm.

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

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

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

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

References

References

.

.

.

References

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

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

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

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

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

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

References

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

Collier Carly

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

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

Collier Carly (2018) ‘Maria Callcott’s Honeymoon Journals, 1827–28: The Missing Fragment’. In: , London: Walpole Society

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

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

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

Mitchell Rosemary“‘Callcott [née Dundas; other married name Graham], Maria, Lady Callcott (1785–1842), traveller and author’”, ODNB.

Palmer Caroline

Palmer Caroline (2019) “‘“A revolution in art”: Maria Callcott on Poussin, Painting, and the Primitives’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

References

References

.

.

References

(1873) “‘Biographical Sketches of Saints of the Mediaeval Church — I St. Benedict’”, Monthly Packet. 331.

(1877) “‘Erminia Faa-Fusinato e i suoi ricordi’”, Academy. 401-02.

(1877) “‘Giotto’”, New Quarterly Magazine. 169-02.

(1878) “‘A Florentine Bridal Chamber’”, Portfolio. (9)21-27.

(1880) “‘Varallo and Her Painter’”, Portfolio. (11)50-56.

(1881) Mantegna and Francia, London: Sampson Low

(1881) “‘The Certosa of Florence’”, Portfolio. (12)28-32.

(1882) “‘The Cathedral of Orvieto’”, Magazine of Art. (5)514-20.

(1882) “‘Sandro Botticelli’”, Portfolio. (13)58-60.

(1882) “‘Assisi’”, Portfolio. (13)180-83.

(1883) “‘Giovanni Costa, Patriot and Painter’”, Magazine of Art. (6)24-30.

(1883) “‘The Nativity in Art’”, Magazine of Art. (6)74-82.

(1883) “‘A Famous Model’”, Magazine of Art. (6)203-07.

(1883) “‘A Heretic Picture’”, Magazine of Art. (6)330-32.

(1883) “‘The Tomb of Gaston de Foix’”, Magazine of Art. (6)381-83.

(1883) “‘A Painter’s Friendship’”, Magazine of Art. (6)426-28.

(1883) “‘The Certosa of Pavia — I’”, Magazine of Art. (6)441-44.

(1883) “‘Benozzo Gozzoli’”, Portfolio. (14)49-55.

(1883) “‘Roman Remains at Ravenna’”, Portfolio. (14)221-25.

(1884) “‘A Visit to La Vernia’”, Gentleman’s Magazine. 566-75.

(1884) “‘The Certosa of Pavia — II’”, Magazine of Art. (7)45-50.

(1884) “‘Francesa da Rimini’”, Magazine of Art. (7)137-39.

(1884) “‘The Lady of Schloss Ambras’”, Magazine of Art. (7)305-07.

(1884) “‘Raphael and the Fornarina’”, Magazine of Art. (7)323-27.

(1884) “‘A Cartoon by Leonardo’”, Magazine of Art. (7)448-52.

(1884) “‘The Artist in Venice’”, Portfolio. (15)17-22.

(1884) “‘Gothic Remains at Ravenna’”, Portfolio. (15)78-83.

(1884) “‘S. Apollinaire in Classe’”, Portfolio. (15)151-57.

(1884) “‘San Vitale of Ravenna’”, Portfolio. (15)178-83.

(1885) “‘The Romance of Art: A Famous Gem’”, Magazine of Art. (8)70-72.

(1885) “‘The Romance of Art: The Cottage Countess’”, Magazine of Art. (8)281-83.

(1885) “‘A Convent Room at Parma’”, Magazine of Art. (8)410-16.

(1885) “‘Vandalism at Tivoli’”, Pall Mall Gazette. 1-2.

(1885) “‘Old Hospitals and Religious Houses of Canterbury’”, Portfolio. (16)11-17.

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

(1885) “‘Christ Church Priory, Canterbury’”, Portfolio. (16)113-17.

(1885) “‘St Augustine’s Abbey, Canterbury’”, Portfolio. (16)200-05.

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

(1886) “‘The Annunciation in Art’”, Magazine of Art. (9)202-07.

(1886) “‘The Romance of Art: A Florentine Wedding’”, Magazine of Art. (9)36-68.

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

(1886) “‘Medieval Remains at Ravenna’”, Portfolio. (17)58-63.

(1886) “‘In the Campagna: Tivoli, Albano, Frascati’”, Portfolio. (17)138-43.

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

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

(1887) “‘The Art of Costa’”, Portfolio. (18)147-51.

(1888) “‘The Romance of Art: The Boy of Egremond’”, Magazine of Art. (11)62-64.

(1888) “‘Jean-François Millet’”, Nineteenth Century. 419-38.

(1888) “‘Correggio’”, Portfolio. (19)31-35.

(1889) “‘Rome in 1889’”, Nineteenth Century. 584-601.

(1889) “‘Lorenzo Lotto’”, Portfolio. (20)16-19.

(1889) “‘Giorgione’”, Portfolio. (20)194-99.

(February 1890) “‘Vanishing Rome’”, Art Journal. 33-40.

(1890) “‘Famous Pictures from the Paris Exhibition’”, Atalanta. 307-14.

(1890) “‘E. Burne-Jones’”, Atalanta. 18-26.

(1890) “‘E. Burne-Jones’”, Atalanta. 81-91.

(1890) “‘Children in Modern Art’”, Atalanta. 169-81.

(1890) “‘Madame’”, Macmillan’s Magazine. 438.

(1890) “‘Winter and Spring Exhibitions, 1890’”, National Review. 153-66.

(1890) “‘The Pastels and Drawings of Millet’”, Portfolio. (21)191-97.

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

(1891) “‘The Pilgrims’ Way’”, Art Journal. 33-38.

(1891) “‘Compton Winyates and Edgehill’”, Atalanta. 706-18.

(1891) “‘G. F. Watts — I’”, Atalanta. 13-25.

(1891) “‘G. F. Watts — II’”, Atalanta. 77-87.

(1891) “‘Frederick Walker’”, Macmillan’s Magazine. 126-32.

(1891) “‘The Pictures of the Year’”, National Review. 466-76.

(1892) “‘A Sicilian City: Taormina — I’”, Atalanta. 637-46.

(1892) “‘A Sicilian City: Taormina — II’”, Atalanta. 701-11.

(1892) “‘L. Alma-Tadema’”, Atalanta. 20-30.

(1892) “‘Some Painters of the Century’”, Atalanta. 197-208.

(1892) “‘A Corner of Essex’”, National Review. 626-38.

(1892) “‘Gardens’”, Portfolio. (23)211-21.

Quinton A. (1893) The Pilgrims’ Way from Winchester to Canterbury, 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. 1-9.

(1893) “‘Edward Burne-Jones: A Record and a Review’”, Art Journal. 82-85.

(1894) 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. 115-19.

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

(1895) Raphael in Rome, London: Seeley

(1895) “‘Madame Millet’”, Art Journal. 72-75.

(1895) “‘Lorenzo Lotto’”, Art Journal. 233-37.

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

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

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

(1896) “‘Puvis de Chavannes’”, Art Journal. 190-92.

(1896) “‘Edward Burne-Jones — The Picture Sidonia’”, Art Journal. 353-54.

(1896) “‘The New Art-Criticism’”, Quarterly Review. 454-79.

Cartwright Julia and Eyton Robert (1897) Christ and his Mother in Italian Art, London: Bliss, Sands

(1897) “‘Modern French Art’”, Quarterly Review. 360-89.

(1898) “‘In Memoriam — Edward Burne-Jones’”, Art Journal. 247-48.

(1898) “‘St. Fillians’”, Art Journal. 257-62.

(1898) “‘English Art in the Victorian Age’”, Quarterly Review. 209-33.

(1898) “‘Edward Burne-Jones’”, Quarterly Review. 338-59.

(1899) 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 6-London: Murray

(1899) “Review of Roger Fry, Giovanni Bellini (1899)”, Literature. (18)482.

(1899) “‘Leonardo da Vinci’”, Quarterly Review. 381-403.

(1900) “‘The Garden of the Hesperides’”, Art Journal. 94-98.

(1900) “‘Burne-Jones’”, Gazette des beaux-arts. (24)25-38.

(1900) “‘Lord de Tabley’”, Quarterly Review. 246-64.

(1900) “‘John Ruskin’”, Quarterly Review. 393-414.

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

(1901) “‘Raphael: The Madonna di Sant’Antonio’”, Art Journal. 284-86.

(1901) “‘The Castello of Milan’”, Monthly Review. 117-36.

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

(1903) Sandro Botticelli, London: Duckworth

Williamson George C. (1903–1905) ‘Giorgione’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-246-48. London: Bell

(1903) “‘Women of the Italian Renaissance’”, Nineteenth Century. 793-801.

(1903) “‘The Early Art of the Netherlands’”, Quarterly Review. 208-33.

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

Williamson George C. (1903–05) ‘Raphael’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-192-98. London: Bell

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

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

(1904) “‘George Frederic Watts’”, Monthly Review. 23-40.

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

(1905) Raphael, London: Duckworth

(1905) “‘Edward Burne-Jones’”, Monthly Review. 17-36.

(1905) “‘A Tomb at Ravenna’”, Monthly Review. 87-95.

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

(1910) Hampton Court, London: Wells Gardner

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

(1910) “‘Italian Humanists and their Gardens”, Nineteenth Century and After. 273.

(1910) “‘Italian Princesses and their Gardens’”, Nineteenth Century and After. 655.

(1911) “‘Venetian Scholars and their Gardens’”, Nineteenth Century and After. 837.

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

Howell Alan George Ferrers, Bernardino S. and Cartwright Julia (1913) S. Bernardino of Siena, London: Methuen

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

(1914) “‘Cardinal Bembo and his Villa’”, Cornhill Magazine. (37)69-84.

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

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

(1917) “‘William de Morgan: A Reminiscence’”, Cornhill Magazine. 461-71.

(1918) “‘Venetian Shrines and German Bombs’”, Englishwoman. 165-68.

References

Alambritis Maria (2019) “‘“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)

Emanuel Angela (1984) “‘Julia Cartwright and Bernard Berenson’”, Apollo. (120)273-77.

Emanuel Angela

Emanuel Angela, Fales Frederick Mario and Hickey Bernard (1987) ‘Enid Layard and Julia Cartwright’ Austen Henry Layard tra l’Oriente e Venezia: International Symposium , Roma

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

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

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

Mitchell Rosemary“‘Cartwright, Julia Mary (1851–1924)’”, ODNB.

Sorensen Lee‘Ady Julia’ http://www.arthistorians.info/adyj.

References

References

.

.

. 1880-2002.

.

.

References

(1897) “‘Three Mysterious Profiles of the Fifteenth Century’”, Art Journal. 312-16.

(1898) “‘The Discoverer of America: A Newly Found Portrait by Ghirlandaio of Amerigo Vespucci’”, Art Journal. 150.

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

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

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

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

Williamson George C. (1903–05) ‘Andrea Mantegna’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-277-80. London: Bell

(1904) “‘Tre documenti del Verrocchio’”, L’Arte. (7)167-68.

(1904) “‘Girolamo della Robbia et ses oeuvres’”, Gazette des beaux-arts. (31)26-52.

Williamson George C. (1903–05) ‘Francesco Signorelli’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-79. London: Bell

Williamson George C. (1903–05) ‘Luca Signorelli’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-79-81. London: Bell

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

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

(1907) New Library of Art. In: Antonio Pollaiuolo, 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)449.

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

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

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

(1913) Fire and Frost, London: John Lane

(1913) “‘Miss Maud Cruttwell’”, Graphic. (17)816.

(1927) The Princess des Ursins, London: Dent

(1930) Madame de Maintenon, London: Dent

References

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

Johnston Tiffany L. (2019) “‘Maud Cruttwell and the Berensons: “A preliminary canter to an independent career”’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

Rumberg Per

Sorensen Lee‘Cruttwell, Maud’ http://www.arthistorians.info/cruttwellm.

Ventrella Francesco (2019) “‘Writing Under Pressure: Maud Cruttwell and the Old Master Monograph’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

References

References

.

.

.

.

.

.

.

References

(1869) “‘Art and Morality’”, Westminster Review. 148-84.

(1870) “‘John Ruskin, Lectures on Art and Catalogue of Examples (Oxford, 1870)’”, Academy. 305-06.

(1870) “‘Carstens’”, Portfolio. (1)76-80.

(1870) “‘Palissy’”, Portfolio. (1)189-91.

(1871) “‘The Holbein Controversy’”, Academy. 492-93.

(1871) “‘Eight Miniatures by Jean Cousin(?)’”, Academy. 516.

(1871) “‘Jehan Cousin’”, Portfolio. (2)7-9.

(1871) “‘Jehan Goujon’”, Portfolio. (2)22-24.

(1871) “‘Germain Pilon’”, Portfolio. (2)72-75.

(1872) “‘Exhibition of the Royal Academy of Arts’”, Academy. 184-85.

(1872) “‘Summer Exhibition of the Society of French Artists’”, Academy. 204-05.

(1872) “‘Nicholas Poussin’”, Fortnightly Review. 472-77.

(1873) “‘Jean Cousin’”, Academy. 26.

(1873) “Review of W. H. Pater, Studies in the History of the Renaissance (1873)”, Westminster Review. 639-41.

(1873) “‘The Use of Looking at Pictures’”, Westminster Review. 415-23.

(1874) “‘Five Paintings by Frederic Leighton, R.A.’”, Academy. 351.

(1874) “‘Eighth Exhibition of the Society of French Artists’”, Academy. 500.

(1874) “‘The Picture by Piero della Francesca’”, Academy. 219-20.

(1875) “‘The Studios’”, Academy. 202-03.

(1876) “‘The Salon of 1876’”, Academy. 463-64.

(1876) “‘The Collection of M. Gambart at Les Palmiers, Nice’”, Athenaeum. 276-78.

(1877) “‘Exhibition of the Société des Beaux Arts, Nice’”, Academy. 328-29.

(1877) “‘The Salon of 1877’”, Academy. 422-23.

(1877) “‘A Chapter of the French Renaissance’”, Contemporary Review. 466-80.

(1877) “‘French Châteaux of the Renaissance, 1460–1547’”, Contemporary Review. 579-97.

(1878) “‘The International Exhibition: Paris, 1878’”, Academy. 493-94.

(1878) “‘Fragonard and his Decorative Paintings at Grasse’”, Academy. 149-50.

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

(1879) “‘The Salon of 1879’”, Academy.

(1880) ‘Jean-Baptiste Greuze’; ‘Jean Antoine Houdon’; ‘Jean Auguste Dominique Ingres’; ‘Jean Francois Millet’. In: Encyclopaedia Britannica. 9th edn 6-Edinburgh: Black

(1880) “‘The Salon of 1880’”, Academy. 370-71.

(1881) “‘The Salon of 1881’”, Academy. 360-61.

(1882) Frederick Leighton, London: Chapman and Hall

(1882) “‘The Salon of 1882’”, Academy. 327-28.

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

(1883) “‘The Royal Academy’”, Academy. 334-35.

(1883) “‘The Glass Paintings of Jean Cousin at Sens’”, Academy. 423.

(1883) “‘Dessins de Claude Lorrain: le livre de vérité’”, L’Art. (34)253-60.

(1883) “‘Dessins de Claude Lorrain: le livre de vérité’”, L’Art. (35)44-51.

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

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

(1884) 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)51.

(1885) “‘France under Richelieu’”, Fortnightly Review. 752-67.

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

(1886) “‘France under Colbert’”, Fortnightly Review. 209-20.

(1886) “‘The Royal Academy of Painting and Sculpture in France’”, Fortnightly Review. 605-16.

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

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

(1890) “‘Art-Teaching and Technical Schools’”, Fortnightly Review. 231-41.

(1891) “‘France’s Great Military Artist (Edouard Detaille)’”, Cosmopolitan. 515-24.

(1894) “‘Christophe’”, Art Journal. 40-45.

(1898) “‘Le Boudoir de la Marquise de Sérilly au Musée de South Kensington’”, Gazette des beaux-arts. (20)5-16.

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

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

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

(1899) “‘Chardin et ses œuvres à Potsdam et à Stockholm’”, Gazette des beaux-arts. (22)177-90.

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

(1900) “‘Letters of Antoine Watteau’”, Athenaeum. (29)408.

(1901) 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)5-14.

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

Dilke Lady (1903) La Collection Wallace (Objets d’Art) à Hertford House, Paris: Goupil; Manzi, Joyant

(1903) “‘The “Laiterie” of Marie Antoinette at Rambouillet’”, Athenaeum. 312-13.

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

References

(1906) “‘The Art-Work of Lady Dilke’”, Quarterly Review. 205-409.

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

Demoor Marysa (1995) “‘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)201-20.

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

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

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

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

Fraser Hilary“‘Dilke [née Strong; other married name Pattison], Emilia Francis, Lady Dilke (1840–1904), art historian and trade unionist’”, ODNB.

Fraser Hilary (2016) “‘Walter Pater and Emilia Dilke’”, Studies in Walter Pater and Aestheticism. (2)21-30.

Fraser Hilary (2019) “‘Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

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

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

Mansfield Elizabeth

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

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

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

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

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

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/.

References

References

.

.

.

.

References

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

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

(1845) “‘Lady Travellers’”, Quarterly Review. 98-136.

(1846) Livonian Tales, London: Murray

(1846) “‘Modern German Painting’”, Quarterly Review. 323-48.

(1846) “‘Cathedral of Cologne’”, Quarterly Review. 425-63.

(1847) “‘Planche’s History of Costume’”, Quarterly Review. 372-99.

(1848) “‘Views of Edinburgh’”, Fraser’s Magazine. 481-94.

(1848) “‘Modern Frankfort’”, Fraser’s Magazine. 334-44.

(1848) “‘Music’”, Quarterly Review. 481-515.

(1848) “‘Vanity Fair and Jane Eyre’”, Quarterly Review. 153-85.

Kügler F. T., Eastlake Lady and Eastlake Charles (1851) Handbook of Painting in Italy, Part 1: Italian Schools. 2nd edn 6-London: Murray

(1851) “‘Physiognomy’”, Quarterly Review. 62-91.

(1852) 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. 1-11.

(1853) “‘The History of Rome’”, Gentleman’s Magazine. 348-54.

Waagen Gustav Friedrich and Eastlake Elizabeth Rigby (1854) Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., London: Murray

(1854) “‘Treasures of Art in Great Britain’”, Quarterly Review. 467-508.

(1856) “Review of John Ruskin, Modern Painters”, Quarterly Review. 384-433.

(1857) “‘Photography’”, Quarterly Review. 442-68.

(1858) “‘Michel Angelo’”, Quarterly Review. 436-83.

(1862) “‘Late Prince Consort’”, Quarterly Review. 176-200.

Jameson Anna, Jameson and Eastlake Lady (1864) The History of Our Lord as Exemplified in Works of Art, London: Longman, Green, Longman, Roberts, & Green

(1864) “(with Harriet Grote), ‘Review of Christian Art’”, Quarterly Review. 143-76.

(1865) “‘Galleries of the Louvre’”, Quarterly Review. 287-323.

(1868) “(with Harriet Grote), ‘British Museum’”, Quarterly Review. 147-79.

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

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

(1869) “‘Exhibition of the Society of Female Artists’”, Art Journal. 82-83.

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

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

(1870) “‘Otto Mündler’”, The Times. 6.

(1872) “‘Crowe and Cavalcaselle on the History of Painting’”, Edinburgh Review. 122-49.

Eastlake Charles L. and Eastlake Lady (1874) Kügler’s Handbook of Painting: The Italian Schools. 4th edn 6-London: Murray

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

(1875) “‘Leonardo da Vinci’”, Edinburgh Review. 89-126.

(1875) “‘Life and Works of Thorvaldsen’”, Edinburgh Review. 1-29.

(1876) “‘The Letters and Works of Michel Angelo’”, Edinburgh Review. 104-47.

(1877) “‘Venice Defended’”, Edinburgh Review. 165-98.

(1878) “‘Titian’”, Edinburgh Review. 105-44.

(1879) “‘Albert Dürer’”, Quarterly Review. 376-407.

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

(1880) “‘Germany, Past and Present’”, Edinburgh Review. 503-40.

(1880) ‘Mrs Jameson’. In: Encyclopaedia Britannica. 9th edn 6-562-63. Edinburgh: Black

(1881) “‘Madame de Staël: Life and Times’”, Quarterly Review. 1-49.

(1882) ‘John Gibson Lockhart’. In: Encyclopaedia Britannica. 9th edn 6-762-64. Edinburgh: Black

(1883) “‘The Life and Works of Raphael’”, Edinburgh Review. 168-204.

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

(1884) “‘Madonna del Ansidei’”, The Times. 2.

(1886) “‘The Female School of Art’”, Englishwoman’s Review. 102-04.

(1887) “‘Thomas Webster, R.A.’”, Murray’s Magazine. 222-31.

(1889) “‘Venice: Institutions and Private Life’”, Quarterly Review. 71-102.

(1891) “‘Giovanni Morelli: Patriot and Critic’”, Quarterly Review. 235-52.

References

(1867) “‘Lady Eastlake’”, Lady’s Own Paper. 1.

(1894) 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

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

Avery-Quash Susanna (2013) “‘“The pencil is the child of my heart”: A Re-discovered Album of Drawings by Elizabeth Rigby, Lady Eastlake’”, British Art Journal. (14)245-64.

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

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

Denvir Bernard (1957) “‘The Eastlakes’”, Quarterly Review. 85-97.

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

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

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

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

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

Gould Cecil (1975) “‘The Eastlakes’”, Apollo. (101)350-53.

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

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

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

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

Kanwit John (2013) “‘“My name is the right one”: Lady Elizabeth (Rigby) Eastlake’s Professional Art Criticism’”, Nineteenth-Century Prose. (40)1141-72.

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

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

Mitchell Rosemary“‘Eastlake [née Rigby], Elizabeth, Lady Eastlake (1809–1893), journalist and writer on art’”, ODNB.

Nichols Catherine Maud and Tillett Edward A. (1893) ‘Personal Reminiscences of Lady Eastlake’. In: Norwich Scrapbooks, 339. Norwich

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

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

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

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

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

Rubin Patricia (2019) “‘George Eliot, Lady Eastlake, and the Humbug of Old Masters’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

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

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

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

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

Sheldon Julie (2019) “‘Lady Eastlake and the Characteristics of the Old Masters’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

Smith Charles Eastlake (1895) Journals and Correspondence of Lady Eastlake, London: Murray

Sorensen Lee‘Rigby Eastlake, Elizabeth’ http://www.arthistorians.info/rigbye.

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

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

References

References

.

References

van Ranke Leopold and Foster E. (1847–48) History of the Popes, London: Bohn

Vasari Giorgio and Foster Jonathan (1850–1852) Lives of the Most Eminent Painters, Sculptors, and Architects, London: Bohn

(1856) “‘Suggestions of Subject to the Student in Art by an Old Traveller’”, Art Journal. 150-54.

(1857) “‘Talk of Pictures and the Painters’”, Art Journal. 145-47.

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

References

‘Eliza Vere Foster’ http://www.victorianresearch.org/atcl/show_author.php?aid=1072.

Davis Charles (2013) ‘Vasari in England, An Episode: Was Mrs. Foster a Plagiarist?’

Rubin Patricia Lee and Burzer Katja (2010) ‘“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, 317-31. Venice: Marsilio

References

References

.

References

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

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

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

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

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

(1905) “‘On the Proposed Restoration of St. Mark’s, Venice’”, Burlington Magazine. (6)411-12.

(1905) “‘The Tweedmouth Pictures’”, Burlington Magazine. (7)335-36.

Herringham Christiana J. (1907) Papers of the Society of Painters in Tempera, 1901–1907, 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, 23-27. London: Women’s Printing Society

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

(1908) “‘Notes on Oriental Carpet Patterns’”, Burlington Magazine. (14)28-30.

(1908) “‘Notes on Oriental Carpet Patterns — II’”, Burlington Magazine. (14)84-94.

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

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

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

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

(1910) “‘The Frescos of Ajantà’”, Burlington Magazine. (17)136-39.

(1915) 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

References

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

Clarke Meaghan (2016) “‘On Tempera and Temperament: Women, Art, and Feeling at the Fin de Siécle’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (23)

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

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

Jones Michaela

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

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

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

Spooner Hannah (2003) “‘Pure Painting: Joseph Southall, Christiana Herringham and the Tempera Revival’”, British Art Journal. (4)249-56.

Sprague Abbie N. (2002) “‘The British Tempera Revival: A Return to Craftsmanship’”, British Art Journal. (3)366-74.

References

References

.

.

.

.

.

.

References

(1826) A Lady’s Diary, London: Thomas

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

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

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

(1833) 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

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

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

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

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

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

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

(1843) “‘Essays on the Lives of Remarkable Painters’”, Penny Magazine. (12)

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

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

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

(1848) Sacred and Legendary Art, London: Longmans

(1849) 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. 69-71.

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

(1852) Legends of the Madonna, London: Longmans

Rigby Elizabeth and Eastlake Lady (1864) History of Our Lord, London: Longmans

References

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

Avery-Quash Susanna (2019) “‘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)

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

Eastlake Elizabeth (1880) ‘Mrs Jameson’. In: Encyclopaedia Britannica. 9th edn 6-562-63. Edinburgh: Black

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

Ernstrom Adele M. (2001) “‘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)29-49.

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

Gilley Sheridan and Wood Diana (1992) ‘Victorian Feminism and Catholic Art: The Case of Mrs. Jameson’. In: The Church and the Arts, 381-89. Oxford: Blackwell

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

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

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

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

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

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

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

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

Johnston Judith‘Jameson [née Murphy], Anna Brownell (1794–1860), writer and art historian’

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

La Monica J. P.

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

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

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

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

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

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

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

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

Sorensen Lee‘Jameson, Anna’ http://www.arthistorians.info/jamesona.

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

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

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

References

References

.

References

(1879) “‘The Artistic Dualism of the Renaissance’”, Contemporary Review. 44-65.

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

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

(1882) “‘Botticelli at the Villa Lemmi’”, Cornhill Magazine. 159-73.

(1883) “‘The Youth of Raphael’”, Art Journal. 373-76.

(1883) “‘The Portrait Art of the Renaissance’”, Cornhill Magazine. 564-81.

(1883) “‘San Gimignano of the Many Towers’”, Portfolio. (14)200-04.

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

(1884) “‘Lombard Colour Studies’”, Art Journal. 85-86.

(1884) “‘North Tuscan Notes’”, Magazine of Art. (7)1-8.

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

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

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

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

(1896) “‘Old Lombard and Venetian Villas’”, American Architect and Building News. 6-7.

(1897) Limbo and Other Essays, London: Richards

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

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

Hawtrey Valentina and Lee Vernon (1904) The Life of St Mary Magdalen, London: John Lane

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

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

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

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

(1908) The Sentimental Traveller, London: John Lane

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

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

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

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

References

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

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

Burdett Carolyn (2011) “‘“The subjective inside us can turn into the objective outside”: Vernon Lee’s Psychological Aesthetics’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (12)

Burdett Carolyn (2016) “‘Walter Pater and Vernon Lee’”, Studies in Walter Pater and Aestheticism. (2)31-42.

Cohen Paula Marantz (2007) “‘The Elusive Aesthetics of Vernon Lee’”, Yale Review. (95)121-30.

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

Cooper Willis Irene (1937) Vernon Lee’s Letters, London

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

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

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

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

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

Kandola Sondeep (2005) “‘Vernon Lee: New Womañ’”, Women’s Writing. (12)471-84.

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

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

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

Leighton Angela (2000) “‘Ghosts, Aestheticism and Vernon Lee’”, Victorian Literature and Culture. (28)1-14.

Leighton Angela, Chapman Alison and Stabler Jane (2003) ‘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, 222-38. Manchester: Manchester University Press

Maltz Diana, Schaffer Talia and Psomiades Kathy (1999) ‘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, 211-29. Charlottesville: University Press of Virginia

Mannocchi Phyllis F.‘Paget, Violet [pseud. Vernon Lee] (1856–1935), art historian and writer’

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

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

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

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

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

Ribeyrol Charlotte (2019) “‘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)59-75.

Sieberg Herward and Zorn Christa (2014) 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

Sorensen Lee‘Paget, Violet’ http://www.arthistorians.info/pagetv.

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

References

References

.

References

Cennini Cennino and Merrifield M (1844) A Treatise on Painting, London: Lumley

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

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

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

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

References

Avery-Quash Susanna and Mazzaferro Giovanni (2018) ‘“I consider I am now to collect facts not form theories”: Mary Merrifield and Empirical Research into Technical Art History during the 1840s’ https://arthistoriography.files.wordpress.com/2018/08/avery-quash-rev.pdf.

Bentley D. M. R. (2003) “‘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)49-58.

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

Bomford Zahira Véliz (2019) “‘Navigating Networks in the Victorian Age: Mary Philadelphia Merrifield’s Writing on the Arts’”, 19: Interdisciplinary Studies in the Long Nineteenth Century. (28)

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

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

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

Mazzaferro GiovanniLetteratura artistica: Cross-Cultural Studies in Art History Sources http://letteraturaartistica.blogspot.com/.

Mitchell Rosemary“‘Merrifield [née Watkins], Mary Philadelphia (1804–1889), writer on art and algologist’”, ODNB.

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

Palmer Caroline‘Mary Philadelphia Merrifield and the Alliance with Science’ http://letteraturaartistica.blogspot.com/2014/05/caroline-palmer-mary-philadelphia.html.

Sorensen Lee‘Merrifield, Mary Philadelphia’ http://www.arthistorians.info/merrifieldm.

Sprague Abbie N. (2002) “‘The British Tempera Revival: A Return to Craftsmanship’”, British Art Journal. (3)366-74.

References

References

.

References

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

(1776) “‘The Tribuna’”, Gentleman’s Magazine and Historical Chronicle. 322-24.

(1776) “‘The Tribuna’”, Gentleman’s Magazine and Historical Chronicle. 417-20.

(1776) “‘The Tribuna’”, Gentleman’s Magazine and Historical Chronicle. 471-73.

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

References

(1776) 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, Bath

Miller Lady (1777) Sappho: A Poetic Rhapsody Inscribed to the Fair Patroness of B—h E—n, London

Baudino Isabelle (2019) “‘“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)

Bending Stephen, Bygrave Stephen and Miller Lady Anna Riggs (2009–10) Women’s Travel Writings in Italy, London: Pickering & Chatto

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

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

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

References

References

.

.

.

References

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

Williamson George C. (1903–05) ‘Ambrogio Lorenzetti’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-247-48. London: Bell

Williamson George C. (1903–05) ‘Pietro Lorenzetti’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-248. London: Bell

Williamson George C. (1903–05) ‘Lorenzo di Pietro’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-249. London: Bell

Williamson George C. (1903–05) ‘Simone Martini’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-294. London: Bell

Williamson George C. (1903–05) ‘Matteo di Giovanni’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-305. London: Bell

Williamson George C. (1903–05) ‘Mencio or Sano di Pietro’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-321. London: Bell

(1904) “‘Un pipinto inedito del Brescianino’”, Rassegna d’arte. (4)36-37.

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

(1904) “‘Un quadro attribuito a Salvanello’”, Rassegna d’arte. (4)141-42.

Williamson George C. (1903–05) ‘Alvise Vivarini’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-311-13. London: Bell

Williamson George C. (1903–05) ‘Antonio Vivarini’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-313-15. London: Bell

Williamson George C. (1903–05) ‘Bartolommeo Vivarini’. In: Bryan’s Dictionary of Painters and Engravers. 4th edn 6-315-16. London: Bell

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

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

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

(1907) “‘Some of the Italian Paintings in the Metropolitan Museum’”, Scrip. (2)239-44.

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

References

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

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

Sox David (1994) “‘The Strange Case of Lucy Olcott Perkins’”, Apollo. (394)43-44.

Tedbury Imogen (2019) “‘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)