Victorian

December 2007 || Articles The Centrality of Literary Illustration in Victorian Visual Culture: the example of an! Trollope from "#$0 to "#$% by Da&i! '(ilton It is easy to assume that literary illustration is an a!!ition to )or(s of prose fiction or poetry* ser&in+ to embellish them* partly for the sa(e of sales* an! partly because the ima+es are pleasin+ to the lo&er of boo(s, It is often further su++este! that illustrations may ha&e helpe! communication bet)een a )riter an! sections of his or her public more a!ept at rea!in+ ima+es than complex &erbal texts, This article" sets out to !emonstrate that far from bein+ the minor cultural form these assumptions presuppose* literary illustration in fact occupie! a central place in Victorian &isual an! &erbal culture, This proposition )ill be examine! in the case of -ohn .&erett illais/s illustrations to Anthony Trollope/s fiction* by tracin+ lin(s not only bet)een ima+e an! text* but bet)een a number of the artist/s best0(no)n illustrations an! !ifferent branches of print culture* fine art* architecture an! fashion, The secon! aim of the present article is to broa!en the terms in )hich literary illustration is analyse!* an! to sho) )hat can be +aine! by supplementin+ tra!itional biblio+raphical an! aesthetic stu!ies of such mass0 pro!uce! )or(s* )ith a fuller account of their role in transmittin+ ima+es an! cultural meanin+s* from one literary )or(* artist or +enre to another* from literary publishin+ to 1ournalism* an! e&en in the sprea!in+ of a)areness of fashions in clothes an! architecture amon+ an! beyon! their )ealthy consumers, I shall ar+ue that literary illustration* )as 1ust one factor* but a central one* in the first a+e of mass0pro!uce! ima+es* an! that )e shoul! be in a position to un!erstan! this phenomenon better no) than )e use! to* because of the enormous proliferation of ima+es in this an! the pre&ious century* an! the extraor!inary facilitation of repro!uction an! access* )hich )e mi+ht be tempte! to call 2unprece!ente!/* )ere it not that a similar step0function in 3uantity an! a&ailability of ima+es ha! occurre! in the nineteenth century, This is not to claim that the population of .urope an! 4orth America )as expose! to as many ima+es in the mi!0Victorian perio! as no)* but that* )ere it possible to 3uantify such thin+s* )e mi+ht fin! that most people experience! as +reat an increase in the repro!uce! ima+es aroun! them bet)een* say* "#"5 an! "#$5* as )e ha&e in the half0century since "657, 7y its hi+h 3uality an! near ubi3uity* literary illustration playe! a central role in Victorian culture in !e&elopin+ an! transmittin+ con&entions of representation of the mo!ern )orl! an! mo!ern life* an! hence in the formation of cultural meanin+s an! i!eolo+y, In or!er to analyse particular cases of illustration* I ha&e assume! that* li(e &erbal texts* ima+es can be examine! in their intertextual relations )ith other texts2 be they &erbal or &isual* 2hi+h/ art or 2popular/ art* literary* factual or 1ournalistic, 'ince )e lac( a specific &ocabulary in )hich to express many of these relations* )e often fall bac( in our analysis on those aspects )hich tra!itionally )e (no) ho) to !escribe* an! thus it is that* in !iscussin+ the relation bet)een an ima+e an! the text )ith )hich it stan!s in pri&ile+e! illais

relationship* )e fall bac( on criteria of !etaile! 2fi!elity/ of ima+e to text* impressions of o&erall stylistic appropriateness of the totality of ima+es to the text as a )hole* or narrati&es of the commissionin+ an! execution of ima+es for literary texts* )ith particular emphasis on the stru++le for supremacy of artist an! )riter in authorially controlle! meanin+ pro!uction, I )ish to su++est that critical !e&elopment is ur+ently nee!e! in this respect* an! propose that the formation of a metho!olo+y an! a &ocabulary for the analysis of literary illustration is the next bi+ challen+e facin+ stu!ents of the sub1ect, 8o)e&er this !e&elopment ta(es place* it )ill* as I hope to sho)* in&ol&e supplementin+ stu!ies of the pro!uction of illustrate! texts )ith an analysis of meanin+ pro!uction in the act of rea!in+ them as bimo!al )or(s of art, I shall start )ith the reflection that because of inherite! assumptions in our culture about the subser&ience of illustration to paintin+* illustration is rarely accor!e! the status it !eser&es, The 9ro&e Dictionary of Art* for example* tells us that the 2sublime/ painter* -ohn artin* often ma!e me::otints of his lar+e paintin+s of biblical an! apocalyptic scenes in or!er to earn more money from the ima+es,; This is of course so* but no mention is ma!e of the culturally si+nificant lin( bet)een his paintin+s an! his boo( illustrations, <et* to ta(e 1ust one example* artin/s &i&i! an! celebrate! can&as of =an!aemonium risin+ from the burnin+ la(e in 7oo( >ne of =ara!ise Lost * )hich )as exhibite! at the ?oyal Aca!emy in "#%"* !eri&es from the artist/s illustration to 7oo( >ne* line 720 of 'eptimus =ro)ett/s "#27 e!ition of =ara!ise Lost* an! not the other )ay roun! @fi+ure "A ", -ohn artin =ara!ise Lost line 7"0 ,% It mi+ht seem a +reat leap from -ohn artin/s sublime romanticism to -ohn .&erett illais/s !etaile! ima+es of mo!ern* literary* historical* an! 7iblical scenes* )ith their sensiti&e attention to human pose an! expression as in!ications of complex emotions* an! so it is )orth rememberin+ that the practice of basin+ easel paintin+s on earlier boo( illustrations is met )ith else)here in the Victorian perio!, Bor instance* 'ir Brancis Dic(see re)or(e! his frontispiece to ?omeo an! -uliet @"##%A in the International 'ha(espere @Cassell C Co,*"##%060A as an oil* )hich )as exhibite! at the ?oyal Aca!emy in "##%* an! 7urne0-ones/s The irror of Venus @"#6#A !eri&e! from one of his illustrations to Dilliam orris/s .arthly =ara!ise,5 =ainters also pai! a +reat !eal of attention to illustrations by other han!s* so that )hen 8enry 8erbert La Than+ue presente! the pli+ht of the poor in his paintin+s* he is sai! to ha&e been 2)or(in+ )ithin a tra!ition of social reportin+ +oin+ bac( to the "#70s in the )or( of illustrators li(e Bran( 8oll an! 8ubert &on 8er(omer/,$ It is also (no)n that &an 9o+h (ept illustrations from the 9raphic in his stu!io* )hich fe! into his )or( in all me!ia throu+h his !ra)in+ an! print0ma(in+: 2I count myself a luc(y fello) to ha&e somethin+ so pleasant aroun! the stu!io* no) an! fore&er/,7 The assumption that the !ominant traffic of ima+es is from paintin+s to illustrations probably !eri&es from the attention )hich art history correctly pays to the !issemination of ima+es by means of en+ra&in+s an! etchin+s in perio!s in )hich the labour an! expense of tra&el ma!e &ie)in+ ori+inals a pri&ile+e of )ealth, =rints in this context are &ery often the interme!iaries bet)een paintin+ an! paintin+, Thus )e (no) for example that prints playe! a crucial role in the mi+ration of annerism from .milia to the Veneto

in the sixteenth century*# but these prints )ere expressly ma!e to !isseminate the ima+es concerne!* as )ere hun!re!s of others in most perio!s of post0me!ie&al art, The years co&ere! by the present article fall in a particularly prolific perio! of print0ma(in+* an!* as repro!ucti&e processes )ere mechanise!* the Victorian mar(et for ima+es )as far lar+er than any pre&iously (no)n* )ith the result that many ima+es )ere effecti&ely o)ne! as much by the populace at lar+e as by the )ealthy connoisseur, In "#%;* for example* the Illuminate! a+a:ine announce! that it )as its mission to supply to a lar+e public 2those +races of art an! literature )hich ha&e too lon+ been hel! the exclusi&e ri+ht of those of happier fortunes/,6 ?eactin+ in "#%$ to the launch of the Illustrate! Lon!on 4e)s* Dor!s)orth )as !ismaye! at the proliferation of mass0pro!uce! ima+es* seein+ it as a symptom of a !ecline in the &erbal culture in 2this once0intellectual Lan!/* an! A bac()ar! mo&ement E,,,F Brom manhoo! G bac( to chil!hoo! E,,,F"0 The sprea! of ima+es )as* ho)e&er* irresistible* )hether in literary illustration* 1ournalism or the popularisation of 2hi+h/ art, 7y the en! of Victoria/s rei+n* in a !emocratisation of earlier practices* repro!uctions of famous paintin+s )ere re+ularly foun! in )or(in+0class homes* an! a!orne! the )alls of 7oar!s 'chools throu+hout the lan!, The cases )e meet )ith in the Victorian perio! of illustrations becomin+ paintin+s are not )ithout prece!ent in the ?enaissance, >ne thin(s of Veronese* )ho a!apte! an alle+orical fi+ure from an earlier Venetian printe! boo( by Brancesco arcolini for one of his soffits @(no)n as Dialettica or In!ustriaA in the 'ala !el Colle+io of the =ala::o Ducale in Venice,"" <et in this case* as in the case of print0ma(in+ from paintin+s* the reputation of the illustration is unsurprisin+ly eclipse! by the presti+e of the paintin+, In the Victorian perio!* althou+h the reco+ni:e! heriarchy of the arts )as lar+ely unchan+e!* the ne) a+e of mass repro!uction of ima+es ma!e a printe! ima+e as influential culturally spea(in+ as any relate! paintin+* an! mass0pro!uce! ima+es in +eneral an important factor in the pro!uction of i!eolo+y in the a+e, In illais/s case* as in so many others/* illustration fe! into mainstream paintin+ @his o)n an! others/A an! also si+nificantly into other aspects of the &isual culture of the !ay* inclu!in+ pictorial 1ournalism* an! fashions in costume an! architecture, Bor the first time )e )itness a culture in )hich mass0pro!uce! &isual ima+es ha! a currency )hich chan+e! their status ra!ically, 7esi!es* consi!erable spen!in+ po)er )as no) in the han!s of people )ho coul! not affor! paintin+s* but )ere the purchasers* in consi!erable numbers* of ne)* illustrate! publications, To !e&elop these points* I ha&e chosen to examine some of the ima+es the aca!emician pro!uce! to accompany a number of Anthony Trollope/s no&els of mo!ern life in the years from "#$0 to "#$%* in the hey!ay of that (in! of realism )hich the Victorians calle! 2truth to life/,"2 The no&els are Bramley =arsona+e @"#$00 $"A* >rley Barm @"#$"0$2A* an! The 'mall 8ouse at Allin+ton @"#$20$%A, illais first illustrate! Trollope )hen Bramley =arsona+e )as commissione! as the lea! no&el in a ne) perio!ical &enture* 9eor+e 'mith/s Cornhill a+a:ine* )hich )as launche! )ith the number for -anuary "#$0* an! imme!iately became a ma1or force in

the literary mar(etplace in the ei+hteen0sixties* an! )ent on to confirm the pre0eminence of )oo!0en+ra&e! illustration in the !eca!e,"; 'mith an! the pro1ectors of other successful illustrate! ma+a:ines of the "#$0s achie&e! circulations lar+e enou+h to bear the consi!erable cost of many ima+es* on )hich a number of earlier &entures* such as the Illuminate! a+a:ine* ha! foun!ere!,"% The early "#$0s )ere also a perio! in the history of the no&el 3uite remar(able for the achie&ements of its +reat practitioners )ithin a system )hich impose! consi!erable censorship on them, ost authors* e!itors* an! publishers )ere content to operate a &oluntary moral censorship or self0restraint )hich accor!e! happily )ith much mi!!le0class public opinion* an! there seems to ha&e been a temporary* thou+h surprisin+ly broa! consensus G morally suffocatin+ thou+h it )oul! later seem G about )hat shoul! an! shoul! not +o into a no&el, It is stri(in+ )hat &ariety an! 3uality )ere achie&e! in these years )ithout offence to )hat Dic(ens in >ur utual Brien! memorably calle! 2the chee( of the youn+ person/,"5 The Doman in Dhite from Dil(ie Collins* 9reat .xpectations* an! >ur utual Brien! from Dic(ens* ill on the Bloss* 'ilas arner* an! ?omola from 9eor+e .liot* 'yl&ia/s Lo&ers an! Di&es an! Dau+hters from 9as(ell* an! =hilip from Thac(eray G these in!icate an in!isputable stan!ar!, An! from Trollope* in a!!ition to the no&els I shall !iscuss in this article* came Castle ?ichmon!* The 'tru++les of 7ro)n* -ones an! ?obinson* ?achel ?ay* The Cla&erin+s* an! Can <ou Bor+i&e 8erH Dhate&er effort of &oluntary restraint )as re3uire! to ma(e fictional sub1ects an! styles acceptable to the public an! its moral +uar!ians* seems for the time bein+ to ha&e been an aesthetically profitable one, This list is not* of course* inten!e! to be exhausti&e* but e&en allo)in+ for the bias intro!uce! by the focus of the present article* it is stri(in+ that of the se&enteen no&els mentione!* no fe)er than se&en first appeare! as serials in the Cornhill a+a:ine, The story of ho) Bramley =arsona+e )as commissione! in the ele&enth hour as the first no&el for the ne) ma+a:ine has often been tol!* an! the recor!s of its reception lea&e no 3uestion as to its popularity, 'ales reache! "20*000* an! Trollope/s no&el 2ran(e! almost as one of the !elicacies of the season/ )ith the ma+a:ineIs extensi&e rea!ership,"$ The Cornhill )as aime! at an e!ucate! mi!!le0class rea!ership* )ith eclectic interests* but no particular pretensions to learnin+, Thac(eray* as e!itor* expresse! the matter clearly in 2A Letter from the .!itor to a Brien! an! Contributor/* !ate! 4o&ember "#56: It may be a Boxhunter )ho has the turn to spea(J or a 9eolo+ist* .n+ineer* anufacturer* ember of the 8ouse of Commons* La)yer* Chemist* G )hat you please, E,,,F If our frien!s ha&e +oo! manners* a +oo! e!ucation* an! )rite +oo! .n+lish* the company* I am sure* )ill be +la! to be a!!resse! by )ell0e!ucate! +entlemen an! )omen, A professor e&er so learne!* a curate in his country retirement* an artisan after )or(0hours* a schoolmaster or mistress )hen the chil!ren are +one home* or the youn+ ones themsel&es )hen their lessons are o&er* may li(e to hear )hat the )orl! is tal(in+ about* or be brou+ht into frien!ly communication )ith persons )hom the )orl! (no)s,"7 A central ima+e in this 2Letter/ is the !inner0party* )hich is an expan!e! an! !ecorous &ersion of the contributors/ !inners hel! by Braser/s a+a:ine an! =unch* an! not only !efines the public aime! at* but promotes the important notion that the ma+a:ine ma!e possible a personal association bet)een its rea!ers an! celebrities in many )al(s of

life,"# illais* of course* )as 1ust such a celebrity, -ust as at a polite !inner0table* Thac(eray/s 2Letter/ explains* political an! reli+ious contro&ersy )as not to appear in his pa+es* an! the broa! tolerance of existin+ bour+eois political an! reli+ious institutions this implies enables us further to reco+ni:e his rea!ers as in many senses pre!ominantly conformist* )ho can be assure! that 2EaFt our social table* )e shall suppose the la!ies an! chil!ren al)ays present E,,,F/ Bor the moment* this )ell0bre! consensus +a&e space for a flourishin+ illustrate! literature, The first point to ma(e about illais* Trollope* an! the mo!ern )orl! is that* unli(e Dic(ens* Thac(eray* an! 9eor+e .liot* Trollope by an! lar+e sets his fictions in the years in or 1ust before those in )hich he is )ritin+, 'o clearly )ere many of his no&els set only months before they )ere rea! that )hen publication of The Cla&erin+s in the Cornhill a+a:ine )as !elaye!* Trollope chan+e! a reference to 2the =rime inister/s Ei,e, =almerston/sF house/ house to rea! 2the then =rime inister/s house/,"6 illais respon!s to this contemporaneity by picturin+ the costume* customs* an! interiors of the !ay, It seems that so stron+ )as the expectation at this sta+e of the Cornhill/s !e&elopment that the no&els in the ma+a:ine )oul! picture the )orl! of its rea!ers* that the illustrator of Thac(eray/s =hilip !re) the characters in costume of "#$"* an! not the perio! of the no&el/s action* lea!in+ to an e3ui&ocation from Thac(eray/s narrator in chapter "6* either to co&er )hat )as a lapse on the part of illustrator an! e!itor* or to explain a conscious !e&ice to co&er the a)()ar!ness of not conformin+ to the expectation that a no&el of mo!ern life shoul! be about &ery mo!ern life, 8e purports to be respon!in+ to a letter from 2a fair correspon!ent/ )ho points out the !iscrepancy existin+ bet)een the text an! the illustrations of our storyJ an! 1ustly remar(s that the story !ate! EsicF more than t)enty years bac(* )hile the costumes of the actors of our little come!y are of the fashion of to0!ay, y !ear ma!am* these anachronisms must be* or you )oul! scarcely be able to (eep any interest for our characters, Dhat )oul! be a )oman )ithout a crinoline petticoat* for exampleH an ob1ect ri!iculous* hateful* I suppose har!ly proper,20 =erhaps Thac(eray* un!er stress from e!itorial !uties )hich he foun! onerous* ha! faile! to atten! to the illustrations, It is si+nificant* ho)e&er* that nobo!y else notice! any incon+ruity before the ma+a:ine )ent to press, There is no ambi+uity about ho) up0to0the minute Trollope/s )or!s an! illais/s ima+es are, In >rley Barm Trollope intro!uces a tra&ellin+ salesman of fol!in+* cast0iron furniture* an! illais !epicts him* as Trollope !escribes him* !emonstratin+ the stren+th of the pro!uct by stan!in+ on it @fi+ure 2A 2, -, ., illais* 2There is nothin+ li(e iron* 'irJ nothin+,/, It is possible that research )oul! re&eal an actual manufacturer/s catalo+ue behin! illais/s !ra)in+, Dhen Trollope presents A!olphus Crosbie in The 'mall 8ouse at Allin+ton as a fashionable 2s)ell/* illais ma(es him a fashionable 2s)ell/ @fi+ure ;A ;, -, ., illais* 2There is r, 8ar!in+ Comin+ out of the Deanery/, This certainly

confirms that illais collaborate! )ith Trollope in presentin+ the )orl! of the moment, 7ut I )ish to +o further* an! establish a lin(a+e bet)een ima+e an! ima+e )ithin the )orl! of illustration* an! bet)een illais/s illustrations an! other sectors of the &isual culture of the !ay, This lin(a+e encoura+es us to loo( at ima+es* as )e !o &erbal texts* intertextually, This mo!e of rea!in+ illustration in&ol&es multiple intertextual possibilities of meanin+ pro!uction* inclu!in+ those bet)een text an! ima+e* text an! text* an! ima+e an! ima+e, I shall start by sho)in+ that there can be as much intertextual resonance bet)een ima+es in illustration as bet)een t)o &erbal texts* an! that 3uotation an! allusion are amon+ the &ehicles* 1ust as in &erbal intertextuality, In his influential boo(* Trollope an! the a+a:ines* ar( Turner carries out &aluable intertextual rea!in+s of some of Trollope/s fictional )or(s from ma+a:ines an! the &erbal texts surroun!in+ them* an! I am exten!in+ the scope of this intertextual approach to the interplay of )or! an! ima+e* an! ima+e an! ima+e* )hich Turner scarcely touches upon,2" The first of illais/s se&en illustrations to Bramley =arsona+e sho)s a si+nificant meetin+ bet)een a )ealthy nobleman* Lor! Lufton* an! the &icar/s orphane!* teena+e! sister* Lucy ?obarts* )ho has no inheritance @fi+ure %A %, -, ., illais* 2Lor! Lufton an! Lucy ?obarts/, Lufton loo(s !o)n on Lucy ?obarts* )ho loo(s !o)n mo!estly in turn* an! their poses symboli:e both their +en!er !ifference an! the !isparity in their social stan!in+, This is therefore a familiar sort of Victorian confi+uration, <et in or!er to un!erstan! this illustration more fully* )e nee! to loo( closely at chapter ""* to )hich it relates, Lor! Lufton catches up )ith Banny* the Vicar/s )ife* an! Lucy* )ho are out )al(in+ in the !us(, 28e ha! a +un on his shoul!er* three pointers )ere at his heels* an! a +ame(eeper follo)e! a little in the rear/ @"%$A, At a certain point* Banny turns off to +o to Bramley Court to see La!y Lufton* lea&in+ Lucy )ith Lor! Lufton* )ho !eclares that he is +oin+ to the parsona+e to loo( at the Vicar/s !o+* =onto* an! he an! Lucy tal( as they continue to)ar!s the parsona+e, Lor! Lufton has pre&iously been there t)ice 2)ith the ob1ect of seein+ her ELucyF* but on both occasions Lucy ha! mana+e! to escape, 4o) )e may say she )as fairly cau+ht* an! Lor! Lufton* ta(in+ a pair of pheasants from the +ame(eeper* an! s)in+in+ them o&er his shoul!er* )al(e! off )ith his prey/ @"%#A, The t)o con&erse until they reach the parsona+e +ar!en* )here they part* Lufton to +o roun! to the stables* an! Lucy to +o into the house, The mo!ern rea!er of the illustrate! text mi+ht )on!er )here his +un has +one* an! )hy the three !o+s aren/t at his feet, The illustration fills in for us certain social !etails )ith )hich )e may not any lon+er be ac3uainte!* in particular ho) a youn+ +entleman )oul! cope )ith a con&ersation )ith a youn+ la!y* an! )ith his +un an! !o+s, >b&iously Lufton consi+ne! the +un an! the !o+s to his +ame(eeper* )hen he too( the brace of pheasant as a present for the =arsona+e* an! sent the ser&ant off to Bramley Court, Trollope an! illais )oul! ta(e this for +rante!, The ima+e helps ma(e explicit tri&ia )hich are not mentione! in the text, This le&el of !etail is har!ly important* but in this case it ser&es to set up an ima+e )hich pro!uces more meanin+s than the text itself* thou+h all of them are completely consonant )ith the text, The ima+e is richer in meanin+s than these tri&ial !etails )oul! su++est, The t)o fi+ures sha(e han!s in front of a +ate* )hile sayin+ +oo!bye after their first meetin+ as nei+hbours* as )as 3uite proper, The !ea! bir!s su++est that Lucy has recei&e! a hit in

the battle of the sexes* as in!ee! turns out to be the case, At this sta+e* the text merely recor!s that Lufton has achie&e! a minor &ictory in this battle* in mana+in+ a con&ersation alone )ith Lucy, Trollope !oes not yet recor! that Lucy is a)are of the start of a relationship, The ima+e ho)e&er !oes tell us that such a relationship is commencin+, The !o&es are not in the text* but are symbolic of the lo&e )hich )ill +ro) bet)een the pair* an! the +ate is a symbol of the openin+ of a ne) life to+ether, 7ut this symbolism* li(e that of the !o&es* is illais/s a!!ition, The +ate is purely a +ate in Trollope/s narrati&e* an! !efies symbolic si+nificance: They ha! no) turne! up throu+h the parsona+e )ic(et* a little +ate that opene! into the +ar!en at a point on the roa! nearer than the chief entrance, 2I suppose I shall fin! ar( up at the houseH/ sai! he,

2I !aresay you )ill* my lor!,/ 2Dell* I/ll +o roun! this )ay* for my business is partly in the stable, <ou see I am 3uite at home here* thou+h you ne&er ha&e seen me before, 7ut* iss ?obarts* no) that the ice is bro(en* I hope )e may be frien!s,/ 8e then put out his han!* an! )hen she +a&e him hers he presse! it almost as an ol! frien! mi+ht ha&e !one @"50A, The pe!ant mi+ht notice too that illais has mo&e! the scene to the outsi!e of the +ate* to achie&e his symbolic purpose, >nce the +ate is seen symbolically* as it is in the illais illustration* the han!sha(e too chan+es* an! loo(s as much li(e a +reetin+ as a fare)ell: an! in!ee! it is so* psycholo+ically spea(in+* thou+h not at a mun!ane* ob1ecti&e le&el, The plate* in!ee!* points up the ambi+uity )hereby a +oo!bye becomes the start of a relationship* an ambi&alence )hich )or(s itself out more secretly in Trollope/s narrati&e, Lucy is se&eral times )arne! not to become too familiar )ith Lor! Lufton* for fear one or other or both mi+ht become emotionally committe! in a socially unsuitable )ay, illais cle&erly )or(s in a further !an+er* of )hich Lucy is not explicitly )arne! but )hich all Victorians )oul! un!erstan!* that she mi+ht be se!uce! or at least le! astray by a youn+ man of Lufton/s stan!in+* an! he !oes this by repro!ucin+ the poses of t)o fi+ures he foun! in an illustration by -ohn Leech of "#%; to a facetious short s(etch or story calle! 2-upiter/s -un(et/ @fi+ure 5A 5, -ohn Leech* 2-upiter/s -un(et/,22 In this piece* -upiter is bore!* an! !escen!s from >lympus to 1oin in some rustic re&elry, 8e is much ta(en by 'emele* )ho is seen ser&in+ him stron+ li3uor* )hich ma(es him tipsy, The Victorian rea!er (no)s that 'emele is !estroye! by -upiter/s !i&ine po)er )hen she insists on ha&in+ sexual intercourse )ith him, 'o Lufton becomes* by association )ith this 3uotation* an immortal )hose irresponsible !alliance )ith a mortal )oman may !estroy her, The fi+ure of Lufton is an almost exact copy of -upiter* but re&erse! @fi+ure $A $, Comparison of fi+s, % an! 5 @re&erse!A, Di! illais trace this ima+e from the Illuminate! a+a:ine from se&enteen years earlierH >r !o both ima+es !eri&e in !etail from a sin+le ori+inalH In either case* )ere these t)o &erbal texts* )e shoul! be expecte! to analyse meanin+s +enerate! by the intertextual

relation bet)een them, Lufton an! ?obarts are !estine! to form an i!eal Trollopian marria+e* to )hich he )ill brin+ consi!erable )ealth an! status* an! she )ill brin+ consi!erable spirit an! intelli+ence* thou+h not classic +oo! loo(s, illais/s humorous classical allusion hints stron+ly at the sexual po)er of the encounter* but Lucy* unli(e 'emele* is not !estine! to be burnt up )ith the >lympian intensity of contact )ith the +o!* an! sur&i&es to capture the aristocrat, Althou+h it is he )ho at first seems to ha&e shot her li(e one of his pheasants* fi&e chapters later )e rea! that Lucy has the upper han!: 2the +ame )as at her feet no)/ @2""A, In the course of this true lo&e* )hich* naturally* ne&er !oes run smooth until the en! of the no&el* Lucy fin!s herself on one occasion refusin+ Lufton/s a!&ances on the +roun!s that she !oes not lo&e him, This claim forces her to a!mit to herself for the first time that in fact she !oes lo&e him* an! she thro)s herself on her be! in !istress* reproachin+ herself )ith the 3uestion* 2Das it not a lieH/ @fi+ure 7A 7, -, ., illais* 2Das It 4ot a LieH/, The scene )as picture! by illais* an! Trollope hate! it: 2I can har!ly tell you )hat my feelin+ is about the illustration E,,,F It )oul! be much better to omit it alto+ether E,,,F The picture is simply lu!icrous* C )ill be thou+ht by most people to ha&e been ma!e so intentionally,/ Then he )ith!re) his ob1ection se&en )ee(s after the illustration )as publishe!* because* he says* 2I sa) the &ery pattern of the !ress some time after the picture came out,/2; It is possible that this illustration ser&e! as a fashion plate, De (no) that Bramley =arsona+e en1oye! a hu+e fashionable success* an! )e can easily ima+ine a mo!ish belle ta(in+ the latest issue of the Cornhill to her !ressma(er an! ha&in+ Lucy/s crinoline ma!e up, The attenti&e rea!er* thou+h* still fin!s the illustration inappropriate* ho)e&er many such !resses )al(e! the streets of Lon!on, Lucy ?obarts is not )ealthy* she is not fashionable* an! in the text she is !resse! to &isit the )ife of a small farmer )ho has 1ust +i&en birth, This is not a !ress to )ear for )in!in+ 7aby =o!+ens, 'o the illustration is not 2faithful/ to the text* as one says, >n the other han! it respon!s accurately to the status of the Cornhill a+a:ine an! Bramley =arsona+e, As one critic put it* 2no Lon!on belle !are! to preten! to consi!er herself literary* )ho !i! not (no) the latest intelli+ence about the state of Lucy ?obarts/ heart* an! 9risel!a 9rantley/s flounces/,2% This 1u!+ment is confirme! by the opinion of Tennyson* )hose 2Tithonus/ imme!iately follo)e! the secon! instalment* an! )ho thou+ht that it )as 2a flashy mo!ern no&el/*25 althou+h* un!erstan!ably* there is no e&i!ence that he rea! it, Bor this illustration illais ta(es a pose he has use! before in illustratin+ a poem* 2 a+enta/* by Tom Taylor in >nce a Dee( @fi+ure #A #, -, ., illais* 2 a+enta/* in )hich a youn+ =arisian )oman is seen )eepin+ an! hol!in+ a letter announcin+ the !eath of her lo&er at the 7attle of a+enta @"#56A* )hile the rest of =aris re1oices at the &ictory, The pose in this illustration is itself a !e&elopment of illais/s earlier illustration to 2 ariana/ in the oxon Tennyson @fi+ure 6A 6, -, ., illais* 2 ariana/,2$ 8i!e* mourner* hi!e the tears )hich mi+ht such triumphs blurK 'ee also 2 ariana/* in Tennyson* =oems* ne) e!ition @Lon!on: ., oxon* "#$$A* p, 7, The !ress of the )oman in 2 a+enta/ is of the perio!* but fairly mo!est, illais ta(es the pose* an! its si+nificance of the loss of the hope of lo&e* an! ele&ates it into the

fashionable )orl! G more ayfair than .n+lish &illa+e, 8ere is =rincess ary of Cambri!+e* popularly (no)n as 2Bat ary/* in a similar crinoline on # >ctober "#$0* four months after illais/s illustration )as publishe!, @fi+ure "0A "0, Camille 'il&y* 2=rincess ary of Cambri!+e/, Despite )hat in royal terms )as a mo!est income of L5*000 a year* =rincess ary )as notoriously extra&a+ant, This is scarcely a !ress )hich is appropriate to a mo!est country parsona+e,27 In cultural history* )hat is more si+nificant than a passin+ !isa+reement bet)een no&elist an! artist is the entry of )omen/s fashion into the fiel! of literary illustration, It seems that the year "#$0 initiate! an element of literary me!iation in )omen/s fashion* an! that at the same time fashion in !ress became an important element in the ima+e of certain successful no&els, Althou+h comparati&ely fe) examples of Victorian boo( illustration resemble contemporary fashion plates in stylistic terms* illais/s 2Das It 4ot a LieH/ may ha&e been ta(en as the mo!el for the !ress Trollope sa)* an! for others li(e it* e&en perhaps on royal princesses,2# 8o)e&er that may be* the artist )as extraor!inarily up0 to0!ate* either as a ma(er or follo)er of fashion, In any case* from no) on* un!er the fashionable lea!ership of illais an! the Cornhill* mo!ish !ress is a hi+hly !esirable element in the illustration of no&els* an! not 1ust the butt of humour in =unch cartoons, This can be seen in -ohn Tenniel/s steel0en+ra&e! frontispiece to the secon! e!ition of B, D, ?obinson/s anonymous no&el* 9ran!mother/s oney in "#$2 @fi+ure ""A, "", -, Tenniel* 29ran!mother Tres!aile/s Coup !/.tat/ 'i+nificantly* the first e!ition of "#$0* before the impact of Bramley =arsona+e )as felt* ha! no illustration, 2Lor! Lufton an! Lucy ?obarts/ an! 2Das It not a LieH/ are examples of illais !ra)in+ on earlier ima+es* in the first case an ima+e by another artist* in the secon!* t)o of his o)n illustrations, These instances of intertextuality !isplay 1ust t)o of the many types of &isual 3uotation current in the nineteenth century, The borro)in+ from Leech seems clear* an!* as I ha&e trie! to sho)* it +enerates meanin+s )hich are rele&ant to a rea!in+ of Bramley =arsona+e* but it is not clear )hether or not the intertextuality )oul! ha&e been reco+ni:e! by the ma1ority of ori+inal rea!ers, =erhaps 2-upiter/s -un(et/ )as )i!ely (no)n at the time* or perhaps it )as (no)n mainly in circles to )hich illais an! his frien! Leech belon+e!* as an example of the +enre of classical burles3ue or 2spoof/ @as )e mi+ht no) call itA* )hich )as popular amon+ classically e!ucate! men, In chapter "; of 7archester To)ers* for example* Trollope claims to 3uote from 2?obson/s e!ition/ of the e!ea* an! is in fact referrin+ not to a text but to a burles3ue by an actor of the sta+e name of ?obson* )ho ma!e a successful theatrical career from tra&esties of 'ha(espearean* 9ree(* an! Latin plays,26 >n the other han!* this mi+ht ha&e been a purely pri&ate reference to an ima+e first pro!uce! by his frien!* )hich illais foun! useful in !e&elopin+ the &isual aspect of the no&el* an! )hich is e3ui&alent to an unreco+ni:e! &erbal reference by one poet to another, There is the further possibility* that he )as late in +ettin+ on )ith 9eor+e 'mith/s commission* an! trace! a suitable ima+e for spee!, The re&ersal of the ima+e mi+ht support this hypothesis* an! yet in that case illais )oul! still ha&e (no)in+ly ma!e the reference,

Another instance )hich occupies the !ubious +roun! bet)een 3uotation an! theft is 8enry Doo!s/s illustration to chapter $; of Trollope/s The Vicar of 7ullhampton* containin+ a fi+ure* that of Ben)ic(* &ie)e! from behin! @fi+ure "2A "2, 8, Doo!s* 2It/s in here* uster Ben)ic(* G in here,/* an! )hich appears to be base! on illais/s illustration to 2.!)ar! 9ray/ in the oxon Tennyson @fi+ure ";A ";, -, ., illais* 2.!)ar! 9ray/* )ith the inclination of the hea! sli+htly altere!* an! the stic( transferre! to the ri+ht han!*;0 the stance bein+ perhaps influence! by illais/s o)n re0use of a mo!ifie! &ersion of this pose for -ohnny .ames in 2An! ha&e I not really lo&e! youH/ in chapter "6 of The 'mall 8ouse at Allin+ton @fi+ure "%A, "%, -, ., illais* 2An! ha&e I not really lo&e! youH/ In the case of 2Das It not a LieH/ the borro)in+ )as from the artist himself* an! it is )orth con1ecturin+ that this an! the ima+e of .ames referre! to )ere examples of stoc( poses illais !e&elope! to carry a specific si+nificance* in both cases emotion at the loss of a lo&e! one, It coul! be further ar+ue! that these cases are not a!e3uately co&ere! by the notion of 3uotation alone* an! that these poses carry establishe! icono+raphic si+nificance* )hich they ha&e !e&elope! by repeate! use, These examples of &isual 3uotation or !eri&ation are 3uite unli(e Trollope/s &erbal 3uotations in Bramley =arsona+e from Terence an! Vir+il* for example* )hich the author (no)s that his tar+et rea!ership )ill reco+ni:e, There are no &isual e3ui&alents of 3uotation mar(s or the italics in )hich Latin )as usually printe!* an! no co!e s)itch* as that from .n+lish to Latin* to ma(e us responsi&e to intertextualities, Contrastin+ cases are foun! in Thac(eray/s !eliberate 3uotation of earlier paintin+s an! prints )ell (no)n to his rea!ership* such as his initial capitals base! on 8o+arth/s )or(s* inclu!in+ his mural of 2The 9oo! 'amaritan/ from the 7ethlem 8ospital* use! in chapter 50 of The Vir+inians, Another ima+e )i!ely reco+nisable at the time of publication is 7ec(y presente! as 7en1amin 8ay!on/s 4apoleon* in Vanity Bair chapter $%,;" .lse)here Thac(eray &isually 3uotes 'ha(espeare* by small scenes from >thello* for example* in chapter 2% of =en!ennis an! chapter 6 of =hilip* in )hich the i!entification of the references is facilitate! by the presence of the Lion of 't ar(* or some other instantly reco+nisable Venetian symbol, In Da&i! Copperfiel! an! Dombey an! 'on* 2=hi:/ 3uotes existin+ )or(s of art by picturin+ them as )or(s of art in the rooms in his illustrations, 2I ma(e the ac3uaintance of iss o)cher/ in Da&i! Copperfiel!* for example* sho)s ?et:schIs picture of Baust* ar+aret* an! ephistopheles from 9oetheIs Baust on the )all* )hile 2Blorence an! .!ith on the 'taircase/ in Dombey an! 'on contains a number of si+nificant pictures an! statues,;2 The statues are clearly statues* an! the pictures are in frames* )ithin the framin+ )hite surroun! of the illustration, A rather !ifferent &isual0cum0&erbal 3uotation )hich is at first si+ht 3uite complex occurs in Chapter ; of The A!&entures of r, Ver!ant 9reen* an >xfor! Breshman* publishe! in "#5; by .!)ar! 7ra!ley un!er the pseu!onym Cuthbert 7e!e, The attitu!e of the prota+onist is presente! throu+h the perceptions of an unreali:e! person* )ho* if he

existe!* )oul! notice a similarity bet)een the prota+onist an! a )ell0(no)n literary illustration: It )as astonishin+ to see all the amount of literature that r, Ver!ant 9reen )as about to con&ey to the seat of learnin+: there )as enou+h to stoc( a small 7o!leian, As the o)ner stoo!* )ith his han!s behin! him* placi!ly sur&eyin+ the scene of preparation* a me!itati&e spectator mi+ht ha&e possibly compare! him to the hero of the en+ra&in+ 2 oses +oin+ to the fair*/ that )as then han+in+ 1ust o&er his hea!J for no one coul! ha&e set out for the +reat >xfor! booth of this Vanity Bair )ith more simplicity an! trustin+ confi!ence than r, Ver!ant 9reen,;; This scene is !escribe! an! also presente! in one of the 2numerous illustrations by the author/* )hich sho)s a fra+ment of a frame! en+ra&in+* entitle! 2 oses 9oin+ to the Bair/, The &isual 3uotation has not been i!entifie!* nor nee! it be* since the intertextual reference is to a )ell0lo&e! )or( of prose fiction* 9ol!smith/s The Vicar of Da(efiel!* )hich 7ra!ley can be confi!ent his rea!er )ill (no), The t)o &isual layers of reference !o not so much con&ey information as reinforce the rea!erly practice of &isuali:ation* )hich in turn hol!s up the action* an! thus places a!!itional emphasis on the literary allusion to The =il+rim/s =ro+ress an!* perhaps* to Thac(eray too,;% 'uch fore+roun!in+ of self0consciousness )oul! be unusual in both Trollope an! illais* thou+h* as )e ha&e seen* there is in both more fre3uent* unobtrusi&e self0consciousness than has often been reco+nise!, Dhate&er their initial !ifferences o&er Lucy ?obarts/s !ress* Trollope an! illais became lin(e! in the fashionable phenomena )hich )ere the Cornhill a+a:ine an! Trollope/s first serial fiction* Bramley =arsona+e, Dritin+ years later in his Autobip+raphy* Trollope for+ets his earlier annoyance )ith illais* an! spea(s )armly of the man an! his illustrations: In e&ery fi+ure that he !re) it )as his ob1ect to promote the &ie)s of the )riter )hose )or( he ha! un!erta(en to illustrate* an! he ne&er spare! himself any pains in stu!yin+ that )or( so as to enable himself to !o so, I ha&e carrie! on some of those characters from boo( to boo(* an! ha&e ha! my o)n early i!eas impresse! in!elibly on my memory by the excellence of his !elineations,;5 De mi+ht be )ary of ta(in+ such authorial appro&al as sufficient e&i!ence for the 3uality of a set of illustrations* )ere it not that in >rley Barm Trollope/s narrator +uarantees the inte+ration of )or! an! ima+e in an instruction to the rea!er to return from the rea!in+ of chapter $; to illais/s first ima+e of La!y ason: In an early part of this story I ha&e en!ea&oure! to !escribe ho) this )oman sat alone* )ith !eep sorro) in her heart an! !eep thou+ht on her min!* )hen she first learne! )hat terrible thin+s )ere comin+ on her, The i!ea* ho)e&er* )hich the rea!er )ill ha&e concei&e! of her as she sat there )ill ha&e come to him from the s(ill of the artist* an! not from the )or!s of the )riter, If that !ra)in+ is no) near him* let him +o bac( to it @fi+ure "5A,

"5, -, .,

illais* 2There )as sorro) in her heart* an! !eep thou+ht in her min!/

Trollope is en&isa+in+ a rea!er of the part0issues of >rley Barm* an! sen!in+ 2him/ to a part* shel&e! else)here* perhaps* )hich ha! come out months before, oreo&er* as 4, 8all points out* 2EiFn the earlier !escription )e rea! simply that La!y ason Mseate! herself in her accustome! chairNJ the !etails mentione! in the latter passa+e are in fact a !escription of illais/s !ra)in+, 'uch an example cautions us to i+nore self0 consciousness in the illustrate! no&el at our peril,;$ y next example from Bramley =arsona+e sho)s illais alrea!y fully en+a+in+ )ith Trollope/s fiction* an! seen here !e&elopin+ the icono+raphy of Victorian marria+e, In the illustration* 2M ar(* N/ she sai!* Mthe men are hereN/ @fi+ure "$A* "$, -, ., illais* 2M ar(*/Nshe sai!* Mthe men are here,N/ the Vicar has un)isely +uarantee! a loan for an unscrupulous ac3uaintance* an! )e see his )ife brin+in+ the ne)s that the bailiffs ha&e arri&e! to !istrain on their property, Theirs is a +oo! marria+e in Trollopian terms* an! they are treate! )ithout sentimentality,;7 Dhen 9eor+e .l+ar 8ic(s !re) on this illustration for 7a! 4e)s* the central ima+e in his triptych* Doman/s ission of "#$; @fi+ure "7A* he too( o&er the +eneral composition an! the icono+raphy of the hearth an! mantelpiece* an! somethin+ of the relation bet)een the t)o fi+ures* but he hei+htene! the !rama an! intro!uce! a strain of sentimentality in the )ife/s pose* 3uite !ifferent from Banny/s more robust attitu!e, @Trollope/s )omen are 3uite often stron+er than their menfol(,A Bi+ure "7 "7, =en+uin 1ac(ets* Bramley =arsona+e "6#% an! 200% sho)s illais/s )atercolour from his Bramley =arsona+e illustration* painte! for his patron* Thomas =lint*;# an! as use! by =en+uin for the co&er of the "6#% e!ition* seen besi!e the re&ampe! co&er for the lar+er format reprint for the 200% =en+uin e!ition* )hich sports the 8ic(s paintin+ G not an impro&ement in rele&ance* thou+h bri+hter an! hence ar+uably +oo! for mar(etin+, illais/s )ife* li(e Trollope/s* is supporti&eJ 8ic(s/s is suppose! to be a comfort* but in mo!ern terms loo(s more of a bur!en to her husban! than a help, This is the thin line bet)een emotional support an! !estructi&eness )hich Thac(eray exposes so s(ilfully in the last chapter of Vanity Bair )hen Dobbin has finally )on Amelia: 2Bare)ell* !ear Amelia G 9ro) +reen a+ain* ten!er little parasite* roun! the ru++e! ol! oa( to )hich you clin+K/ @Vanity Bair chapter 57A,;6 =en+uin 7oo(s helpe! i!entify this succession of ima+es in their e!itions of Bramley =arsona+e, >xfor! Dorl!/s Classics for their part reinforce! a po)erful but more0or0less spurious association of one of illais/s ma1or oil paintin+s* Trust e @"#$"A* )ith Trollope/s no&el* >rley Barm of "#$"0$2 @fi+ure "#A, "#, -ac(et of A, Trollope* >rley Barm* Dorl!/s Classics* "6#5 illais ha! starte! this paintin+ by April "#$"* an! it coinci!es therefore )ith his )or( on the illustrations to >rley Barm, It possibly ori+inates in characters of >rley Barm* )hich commence! part issue in arch "#$"* althou+h 'ir =ere+rine >rme !oes not )ear the huntin+ pin( )hich is such a brilliant feature of the oil,

The characters in 3uestion are sho)n to+ether in this later illustration of >ctober "#$2 @fi+ure "6A* "6, -, ., illais* 2Bare)ellK/ althou+h it appears unli(ely that they are also mo!elle! on the 2 rs Ait(in an! -ohn Lin!say/* )ho repute!ly sat for Trust e%0 At another time* illais certainly !i! use an ac3uaintance as mo!el for a Trollope character, The fi+ure of 7ernar! Dale in the illustration* 2It/s all the fault of the nau+hty bir!s/ @fi+ure 20A* 20, -, ., illais* 2It/s all the fault of the nau+hty bir!s/ in the thir! serial part of The 'mall 8ouse at Allin+ton* is base! on an earlier s(etch by illais of his frien!* -ohn Leech,%" Dhate&er the case of Trust e* than(s to >xfor! Oni&ersity =ress/s co&er !epartment* the mista(en intertextual reference is ma!e explicitly e&ery time the picture is referre! to* an! implicitly* in!ee!* e&ery time it is seen* an! somethin+ unrelate! to the action of the no&el is fore&er lin(e! to it, Trust e is classifie! as a 2problem picture/* an! )as in!ee! one of the earliest examples of that +enre, It is a 2problem picture/ because the situation is not clear* an! it is not apparent )hat the relationship is bet)een the t)o characters* or e&en )hich of them is sayin+ the )or!s* 2Trust me/, This is not a scene from >rley Barm* but I shoul! li(e to su++est that it is similar in some respects to a number of the illustrations to that no&el* )hich* ta(en as ima+es )ith captions are e3ually eni+matic if !i&orce! from their texts* such as 2<our son* Lucius* !i! say shoppin+/ @fi+ure 2"A* 2", -, ., illais* 2<our son Lucius !i! say G shoppin+,/ or 27rea! 'auce is so Tic(lish/ @fi+ure 22A, 22, -, ., illais* 27rea! 'auce is so Tic(lish/ These are not to be un!erstoo! from their captions* e&en )hen the )or!s are ta(en from the no&el: they !eman! a fairly extensi&e rea!in+ of the text, 2Trust e/ mi+ht be re+ar!e! as li(e an illustration )ith an eni+matic caption* to )hich the &ie)er is in&ite! to supply a text in the form of a narrati&e )hich )oul! account for the scene as !epicte!, It may be that illustration an! the &ie)in+ strate+ies in&ol&e! in rea!in+ ima+es )ith narrati&e text playe! a (ey role in the !e&elopment of the +enre of 2problem picture/* an! that one current of mainstream Victorian paintin+ cannot be fully un!erstoo! )ithout reference to the illustrati&e practice of the a+e, The repertoire of poses an! situations in the illustrations* ho)e&er* +oes further in the &ariety of )hat )as calle! 2truth to life/ )hich it encompasse!* an! )hich far excee!s )hat is foun! in paintin+, An example is the illustration of t)o of the La)yers in >rley Barm* at ease @fi+ure 2;A, 2;, -, ., illais* 2 r, Chaffanbrass an! r, 'olomon Aram/ These ima+es of !aily life by illais sometimes also present sin+le moments in an action* rather than the more exten!e! narrati&e often embo!ie! by Cruis(shan( or 2=hi:/ in their ima+es for Dic(ens/s no&els, There is little encoura+ement to the &ie)er to 2rea!/ most of illais/s illustration to Trollope )ith as much thorou+hness as )e (no) )as !e&ote! to Victorian narrati&e paintin+s @fi+ure 2%A, 2%, -, ., illais* 2=ere+ine/s .lo3uence/ >f

course* the rea!er of the no&el* encounterin+ 2=ere+rine/s .lo3uence/* for example* )as rea!in+ the ima+e in con1unction )ith the &erbal text* an! foun! no !eficiency, This is not the place to !o more than su++est that this !ifference G this ability to ta(e one moment out of time in a seemin+ly 2real/ situation* )ithout incorporatin+ in the ima+e the lar+er narrati&e of more complex i!eolo+ical meanin+ of )hich it is a part G prepares the )ay for one of the later functions of photo+raphy G thou+h not* of course* a function of photo+raphy as practise! in the ei+hteen0sixties, I no) )ish to consi!er an illustration )hich seems to me to ma(e a !irect contribution to the means of representin+ the )orl! in pictorial 1ournalism: 2 on(ton 9ran+e/* from >rley Barm @fi+ure 25A, 25, -, ., illais* 2 on(ton 9ran+e/ =re&ious representations of fox0huntin+ in print or paint !o not* as far as I can !isco&er* sho) the +atherin+ before the hunt mo&e! off in any social !etail* but illais here !etails !ifferent character types in the no&el* inclu!in+ those )ho obser&e from carria+es* an! the fearless )omen follo)ers of the hunt,%2 -ust as importantly he celebrates a country house in the so0calle! 2.li:abethan/ or 2>l! .n+lish/ style of architecture,%; Dhen three years later an artist from the Illustrate! Lon!on 4e)s )as as(e! to the capture 1ust such a scene @thou+h on a far +ran!er scaleA* he seems to ha&e !ra)n lessons !irectly from illais @fi+ure 2$A, 2$, Visit of the =rince of Dales to erton 8all* 4orfol( De note the 1ournalistic shorthan! in the horsemen ri!in+ in ran(s behin! the =rince of Dales/ carria+e* an! )e miss illais/s stunnin+ use of portrait format* )ith a tellin+ extent of +roun! in the fore+roun!* )hich locates the &ie)er on foot at a sli+ht !istance, 7ut the architectural similarity is no coinci!ence, erton 8all )as once an unpretentious house* no more imposin+* thou+h more mo!ern* than the fictional on(ton 9ran+e* but it )as enlar+e! an! remo!elle! by .!)ar! 7lore about "#;; for Thomas !e 9rey* fourth 7aron Dalsin+ham* in a +ran!er &ersion of the neo0.li:abethan style, 'o con&incin+ )as the effect* an! the i!eolo+ical meanin+s tie! to it that the Illustrate! Lon!on 4e)s belie&e! the house to ha&e ac3uire! its Victorian appearance an! ma+nitu!e as early as "$00,%% illais ha! sho)n 1ust ho) effecti&e an 2>l! .n+lish/ profile coul! be as bac(!rop to such a +atherin+, 8ere illustration is a!!in+ its )ei+ht to a fashion* not this time in la!ies/ costume* but in public taste for architecture, I am not here a!&ancin+ an ar+ument about styles of architecture use! in the construction or remo!ellin+ of the lar+est country houses in these years* but about the current 1u!+ments as to the style of architecture )hich best expresse! mi!0Victorian myths of rural life an! lan!o)nership, 'uch houses* as ar( 9irouar! says* 2express )hat the a&era+e mi!0Victorian +entleman thou+ht a +entleman/s house shoul! be/,%5 The >l! .n+lish style separate! the +entleman from the nou&eau riche, This paper has approache! only a fe) of illais/s illustrations to Trollope* but it has sho)n that* far from existin+ some)here on the periphery of Victorian culture* literary illustration playe! a central part in the !e&elopment an! transmission of cultural meanin+s, Illustrate! no&els !eser&e to be rea! as the bimo!al )or(s they are, 7esi!es* )ithout the critical means of analysin+ illustration in its many relations )ith its 2o)n/ text* other texts an! ima+es* an! the culture in )hich these are embe!!e!* )e shall ha&e only a partial account of the first perio! in )hich mass0pro!uce! ima+es entere! nearly

e&ery home* an! ha! a crucial role in establishin+ an! transmittin+ &isual culture* not only )ithin illustration an! print0ma(in+* but beyon!* into paintin+* fashion an! 1ournalism* in )hat )e cannot help seein+* in our obsession )ith our o)n cultural situation* as a rehearsal for the early t)entieth0century explosion of mo&in+ ima+es* an! extraor!inary fecun!ity in ima+e proliferation on the )orl!)i!e )eb in the late t)entieth0 an! early t)enty0first0century,

" This article )as first !eli&ere! as a paper at the conference* 2=ictures of o!ernity/* hel! at the Ca/Boscari Oni&ersity* Venice* "0 to "" ay 2007, Venetian references in the openin+ para+raphs )ere chosen o&er other possible examples as a compliment to the hosts, 2 The case for an intertextual mo!el is ma!e by =aola 'pino::i in her 'opea il reale: osmosi interartistiche nel =refraffaellitismo e nel 'imbolismo in+lese @Blorence: Alinea e!itrice* 2005A an! in this issue of ->I', ; The Dictionary of Art* e!, -ane Turner* ;% &ols @Lon!on:9ro&e* "66$A* xx* pp, %#606", % The =ara!ise Lost of ilton * )ith Illustrations* Desi+ne! an! .n+ra&e! by -ohn artin* 2 &ols @Lon!on: 'eptimus =ro)ett* "#27A* recto facin+ i* p, ;0J see Thomas 7alston* -ohn artin "7#60"#5%, 8is Life an! Dor(s @Lon!on: 9eral! !uc()orth C Co, Lt!,* E"6%%FA* pp, "%%* 20$07 an! 2#$J Dilliam Bea&er* -ohn artin @>xfor!: Claren!on =ress* "675A* pp, "$50$J an! The Borbes Collection of Victorian =ictures an! Dor(s of Art* ; &ols @Lon!on: Christie/s* E200;FA* i* p,55, 5 Borbes Collection* i* p, "#0 an! II* p, "%0J an! 'pino::i* 'opra il reale* pp, "##06, $ Borbes Collection* i* p,";6, 7 'ee letter from Vincent &an 9o+h to Anthon &an ?appar!* The 8a+ue* EBebruary "##;F: 2I ha&e ta(en the 9raphics apart E,,,F I thin( it !esirable E,,,F to (eep the thin+s by 'mall or 8er(omer* or 9reen or Bran( 8ol* for instance* to+ether* instea! of ha&in+ them scattere! amon+ thin+s that !o not match them in the least, Dhen one has ta(en out only the best an! most characteristic sheets* it is possible to +et a +eneral &ie) of them )ithin a fe) hours, An! one !oes not nee! a lon+ time to hunt up a particular thin+,/ Van 9o+h/s Letters Onabri!+e! an! Annotate!* ; &ols @Lon!on: Thames C 8u!son* secon! e!ition* "67#A* ii* p, ;$;, # 9ian&ittorio Dillon* 2Le incisioni/* in Da Ti:iano a .l 9reco: =er la storia !el anierismo"5%00"560, Catalo+o !ella mostra al =ala::o !ucale* Vene:ia* "6#" @ ilan: .lecta* "6#"A* p, ;00

6 EDou+las -errol!HF* 2=reface/* Illuminate!

a+a:ine " @"#%;A* unnumbere! pa+e,

"0 Dilliam Dor!s)orth* 'onnet xi&, 2Illustrate! 7oo(s an! 4e)spapers/* "#%$* The =oetical Dor(s of Dilliam Dor!s)orth* correcte! e!ition* 5 &ols @>xfor!: Claren!on =ress* "6$$A* i&* p, 75, "" 'ee Charles 8ope* 2M=oesieN an! =ainte! Alle+ories/* in The 9enius of Venice "5000 "$00* e!, -ane artineau an! Charles 8ope* @Lon!on: ?oyal Aca!emy of Arts an! Dei!enfel! an! 4icolson* "6#;A* pp, ;5G7 @p, ;7A, 8ope misplaces this soffitto in the ?oom of the Council of Ten @la 'ala !el Consi+lio !ei DieciA, Bor a correct !escription see usei Ci&ici Vene:iana* O?L http:PP))),museici&ici&ene:iani,itPframe,aspH i!Q2"%0Cmusi!Q# accesse! 5 ay 2007, The source of the ima+e )as Brancesco arcolini* Le 'orti !i Brancesco arcolini !a BorlR intitolate +iar!ino !i persieri allo illustratissimo si+nore 8ercole .stense Duca !i Berrara @Venetia* "5%0A* p, xxx&* @7iblioteca !ella Bon!a:ione 9ior+io Cini* Venice: call no, T.' ;;6A, "2 Bor the reception of Trollope/s fiction in this perio!* see Da&i! '(ilton* Anthony Trollope an! 8is Contemporaries: A 'tu!y in the Theory an! Con&entions of i!0 Victorian Biction @8arlo): Lon+man* "672A* pp, "70%0J for illais/s illustrations to Trollope* see 4, -, 8all* Trollope an! 8is Illustrators @Lon!on: acmillan* "6#0A* pp, #0 ##* an! =aul 9ol!man* 7eyon! Decoration, The Illustrations of -ohn .&erett illais @Lon!on: 7ritish Library* E2005FA* pp, %"02* 5;05* 6;0";2 an! "6602;$, "; 'ee '(ilton* Anthony Trollope* pp, "#0"6, The first number of the Cornhill* !ate! 2-anuary "#$0/* ha! appeare! by 2# December "#56* )hen Lor! acaulay ha! a fatal sei:ure )ith a copy of it open before him, 8e )as apparently rea!in+ Thac(eray/s =hilip* an! not Bramley =arsona+e, 'ee ?an!olph -, 7ufano* 24e) Information on acaulay/s Death/* 4CS 2"7 @4o&ember "67"A* %"70"#, "% 'ee re&ie) of the 9a:ette of Variety ns 2 in the last issue of the Illuminate! a+a:ine % @"#%5A* ;50* be)ailin+ 2our o)n experience in the +reat expense of +oo! )oo!cuts/* )hich ma(es continuation of illustrate! perio!icals hi+hly problematic, "5 Charles Dic(ens* >ur utual Brien! @8armon!s)orth: =en+uin* "67"A* p, "75,

"$ 'ee =eter iles an! Da&i! '(ilton* 2Intro!uction/ an! 2The Dritin+ an! =rintin+ of Bramley =arsona+e/* in Anthony Trollope* Bramley =arsona+e @8armon!s)orth: =en+uin* "6#%A* pp, 702#, All subse3uent 3uotations are from this e!ition, Bor the reception* see '(ilton* Anthony Trollope* pp, "6020, "7 Dilliam a(epeace Thac(eray* The Letters an! =ri&ate =apers of Dilliam a(epeace Thac(eray* e!, 9or!on 4, ?ay* % &ols @Cambri!+e A: 8ar&ar! Oni&ersity =ress* "6%50 $A* i&* pp, "560$", "# The con&i&ial mo!el of a mi!!le0class perio!ical probably ori+inates in the ima+inary con&ersations presente! in 4octes Ambrosianae* a re+ular feature of 7lac()oo!/s

a+a:ine* an! !e&elope! further by Dilliam a+inn in Braser/s* )here the focus )as 2a roun! table in -ames BraserIs bac( parlour* )here the Braserians +athere! to put to+ether the ma+a:ine* )rite s3uibs on Lytton 7ul)er* or ?obert 2'atan/ ont+omery* an! !rin( )his(ey punch in bacchanalias that )ere then exa++erate! in the ma+a:ine/ @>D47* 2Dilliam a+inn/A, "6 Anthony Trollope* The Cla&erin+s @>xfor!: >xfor! Oni&ersity =ress* "6#$A* p, ;#$, 20 Cornhill a+a:ine % @'eptember "#$"A* p, 257, ?omola* of course* the follo)in+ year* brou+ht a perio! settin+ to a Cornhill serial, 2" ar( Turner* Trollope an! the @7asin+sto(e* acmillan* 2000A, 22 2-upiter/s -un(et/* Illuminate! a+a:ines: 9en!ere! Issues in a+a:ine " @"#%;A* p, 6;, i!0Victorian 7ritain

2; Trollope to 9eor+e 'mith* 2; ay "#$0 an! 2" -uly "#$0* in Trollope* The Letters of Anthony Trollope* e!, 4, -ohn 8all* 2 &ols pa+inate! as one @'tanfor!: 'tanfor! Oni&ersity =ress* "6#;A* i* pp, "0% an! """, 2% ?e&ie) of Bramley =arsona+e @anon,A* 'atur!ay ?e&ie)* % ay "#$"* pp, %5"G2,

25 Tennyson* The Letters of Alfre! Lor! Tennyson* e!, Cecil <, Lan+ an! .!+ar B* 'hannon* -r,* ; &ols @Cambri!+e A: 8ar&ar! Oni&ersity =ress* "6#"A* ii* p, 252, 2$ -ohn .&erett illais* illustration to Tom Taylor* 2 a+enta/* >nce a Dee(* 2 -uly "#56* p, "0, 'ee 9ol!man* 7eyon! Decoration* p, 2$;, Taylor/s poem laments the !eath toll in the Brench military &ictory o&er Austria at a+enta the pre&ious month* in the 'econ! Italian Dar of In!epen!ence* an! the illustration sho)s 2a lo&in+ heart/ mournin+ in =aris for one of the fallen, The poem en!s 8i!e* mourner* hi!e the tears )hich mi+ht such triumphs blurK 'ee also 2 ariana/* in Tennyson* =oems* ne) e!ition @Lon!on: ., oxon* "#$$A* p, 7, 27 I am +rateful to Tara Tennant of Car!iff Oni&ersity for help in un!erstan!in+ Lucy ?obarts/s !ress, 2# An example of an illustration by illais )hich resembles a fashion plate is 2Ah meK 'he )as a )insome mai!/* an illustration to Eanon,F 2The 7or!er Ditch, An Aul!0Darl! 'tory/* Lon!on 'ociety 2 @Au+ust "#$2A* "#"0$ @!m&i no, L'=02#A, Tara Tenant @Car!iff Oni&ersityA has pointe! out in a personal communication that )hat illais has !ra)n more resembles a fashionable Uoua&e 1ac(et of "#$2 than the ei+hteenth0century costume )hich mi+ht ha&e been more appropriate, An etchin+ of "#76* perhaps of his secon! !au+hter* ary 8unt illais* also resembles a fashion plate, 'ee -ason ?osenfel! an! Alison 'mith* illais @Lon!on: Tate =ublishin+* 2007A* p, 20",

26 'ee Anthony Trollope* 7archester To)ers* chapter ;;, >D47 recor!s that 2EoFne of ?obsonIs finest burles3ue creations )as his e!ea in ?, 7, 7rou+hIs e!ea/* in -uly "#55, @ThomasA Bre!eric( ?obson @"#2"0$;A )as earlier a copper0en+ra&er un!er his ori+inal name of 7ro)nhill, ;0 Anthony Trollope* The Vicar of 7ullhampton @Lon!on: 7ra!bury an! .&ans* "#70A*&erso facin+ p, %"", illais/s illustration to 2.!)ar! 9ray/ appears on p, ;%0 of =oems @Lon!on: ., oxon* ne) e!ition "#$$A, 8all places this illustration in the perio! of the 2!eca!ence/ of Trollopian illustration* an! remar(s* 2 ost of Doo!s/ !ra)in+s for Trollope are inept/ @Trollope an! 8is Illustrators* p, "%0A, ;" These an! other examples are i!entifie! in -oan 'te&ens* 2Thac(erayIs =ictorial Capitals/* Costerus ns 2 @"67%A* "";0%0, ;2 I !iscuss these plates in 2The ?elation bet)een illustration an! text in the Victorian no&el: a ne) perspecti&e/* in Dor! an! Visual Ima+ination, 'tu!ies in the Interaction of .n+lish Literature an! the Visual Arts* e!, by Tarl -osef 8Vlt+en* =eter , Daly an! Dolf+an+ Lottes @.rlan+en Borschun+en %;* "6##A* pp, ;0;025, 'ee also -ohn 8ar&ey* Victorian 4o&elists an! Their Illustrators @Lon!on: 'i!+)ic( C -ac(son* "67"A* p, "50, ;; Cuthbert 7e!e @pseu!,* i,e, .!)ar! 7ra!leyA* The A!&entures of r, Ver!ant 9reen* an >xfor! Breshman E,,,FDith 4umerous Illustrations Desi+ne! an! Dra)n on the Doo! by the Author @Lon!on: 4athaniel Coo(e* "#5;A* p, "7, ;% The en+ra&in+ abo&e Ver!ant 9reen/s hea! is not one of Dilliam ulrea!y/s illustrations from the "#%; e!ition of The Vicar of Da(efiel!, @Lon!on: -ohn Van VoorstA* "#%;* )hich )ere &ery popular, ;5 Anthony Trollope* An Autobio+raphy* e!, Da&i! '(ilton @8armon!s)orth: =en+uin 7oo(s* "66$A* pp, 6#06, ;$ 8all* Trollope an! 8is Illustrators* p, %%, ;7 'ee Bramley =arsona+e* p,%00, The caption to the illustration is ta(en from pa+e 5"2, ;# Borbes Collection* I* p, "27, ;6 D, , Thac(eray* Vanity Bair e!, by -, I, "6$#A* p, 762, %0 Borbes Collection* &ol, "* pp, "2%07, %" The 'mall 8ouse at Allin+ton* part ;* chapter 7* Cornhill a+a:ine $ @4o&ember "#$2A &erso facin+ pa+e $$;, 'ee -, 9, illais* The Life an! Letters of 'ir -ohn .&erett illais* =, ?, A, @Lon!on: * "#60A 2 &ols* i* p, 2$2, 'ee also 8ilary 9resty* 2 illais an! , 'te)art @8armon!s)orth: =en+uin*

Trollope: Author an! Illustrator/* The 7oo( Collector ;0 @"6#"A* pp, %;0$0* @p, %$nA* )ho cites this illustration as an example of illais/s 2realistic/ reliance on obser&ation, %2 I am +rateful to* r ichael Clayton* Chairman of the 8untin+ useum* elton o)bray* for !iscussin+ this point )ith me, 8e is of course not responsible for the conclusions I ha&e !ra)n, %; The term 2.li:abethan/ )as use! for Tu!or09othic* often mixe! )ith early se&enteenth0century elements, ar( 9irouar! comments on 2the +loriously &a+ue M>l! .n+lishN/ !esi+nation* )hich )as 2)i!ely use! E,,,F to !escribe both Tu!or09othic an! .li:abethan houses/, ar( 9irouar!* The Victorian Country 8ouse re&ise! e!n, @4e)ha&en CT: <ale Oni&ersity =ress* "676A* p, 7" %% Illustrate! Lon!on 4e)s %$ @"#$5@"AA* 7": 2a mansion built of re! bric(* in the .li:abethan style* probably about the year "$00* on the site of a house )hich ha! been in the possession of the De 9rey family since the fourteenth century/, %5 9irouar!* p,5%,

Illustrations: -ohn artin* 27oo( " line 7"0/J me::otint "#7 x 27" mm* The =ara!ise Lost of ilton* )ith Illustrations* Desi+ne! an! .n+ra&e! by -ohn artin* 2 &ols @Lon!on: 'eptimus =ro)ett* "#27A* i* recto facin+ p, ;0, 7y permission of Llyfr+ell 9ene!laethol Cymru P The 4ational Library of Dales, -ohn .&erett illais* 2There is nothin+ li(e iron* 'irJ nothin+,/J )oo!0en+ra&in+ "$# x "0$ mm en+r, Dal:iel 7rothers in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* i* recto facin+ p, %$, -ohn .&erett illais* 2There is r, 8ar!in+ Comin+ out of the Deanery/J )oo!0 en+ra&in+ "56 x "05 mm en+r: Dal:iel 7rothers* in Anthony Trollope* The 'mall 8ouse at Allin+ton* Cornhill a+a:ine 7 @Bebruary "#$2A* recto facin+ p, 2"%, -ohn .&erett illais* 2Lor! Lufton an! Lucy ?obarts/J )oo!0en+ra&in+ "5% x "0; mm en+r: Dal:iel 7rothers* in Anthony Trollope* Bramley =arsona+e* Cornhill a+a:ine " @April "#$0A* &erso facin+ pa+e %%6, -ohn Leech* illustration to 2-upiter/s -un(et/J )oo!0en+ra&in+ 62 x "25 mm* Illuminate! a+a:ine " @"#%;A* 6;, Comparison of fi+s, % an! 5 @re&erse!AJ -ohn .&erett illais* 2Das It 4ot a LieH/J )oo!0en+ra&in+ "70 x ""; mm en+r: Dal:iel 7rothers* in Anthony Trollope* Bramley =arsona+e* Cornhill a+a:ine " @-une "#$0A* &erso facin+ pa+e $6" -ohn .&erett illais* 2 a+enta/J )oo!0en+ra&in+ #5 x 7# mm en+r, Dal:iel 7rothers* illustration to Tom Taylor* 2 a+enta/* >nce a Dee( 2 @2 -uly "#56A* "0 -ohn .&erett illais* 2 ariana/J )oo!0en+ra&in+ 6; x 76 mm en+r, Dal:iel 7rothers* in Alfre! Tennyon* =oems @Lon!on: ., oxon* "#57* ne) e!ition "#$$A* p, 7

Camille 'il&y* 2=rincess ary of Cambri!+e/ @"#$0AJ # >ctober "#$0* photo+raphic carte !e &isite* ## x 55, mm 7y (in! permission of =aul Brec(er Lon!on, -ohn Tenniel* 29ran!mother Tres!aile/s Coup !/.tat/J steel en+ra&in+ ";" x #$ mm en+r: -ohn 'a!!ler* in B, D, ?obinson* 9ran!mother/s oney @Lon!on: 8ust an! 7lac(ett* 2n! e!n E"#$2FA* frontispiece* 7ritish Library shelfmar( "2$",#,!,"; W7ritish Library 7oar!, All ?i+hts ?eser&e!, 8enry Doo!s* 2It/s in here* uster Ben)ic(* G in here,/J )oo!0en+ra&in+ "5$ x 66 mm* en+r ')ain C Co, in Anthony Trollope* The Vicar of 7ullhampton @Lon!on: 7ra!bury* .&ans* an! Co,* "#70A* &erso facin+ p, %"", -ohn .&erett illais* 2.!)ar! 9ray/J )oo!0en+ra&in+ #7 x #0 mm en+r, -, Thompson* in Alfre! Tennyon* =oems @Lon!on: ., oxon* "#57* ne) e!ition "#$$A* p, ;%0, -ohn .&erett illais* 2An! ha&e I not really lo&e! youH/J )oo!0en+ra&in+ "$0 x "0% mm en+r, Dal:iel 7rothers* in Anthony Trollope* The 'mall 8ouse at Allin+ton* Cornhill a+a:ine 7 @ arch "#$;A* &erso facin+ p, ;%6, -ohn .&erett illais* 2There )as sorro) in her heart* an! !eep thou+ht in her min!/J )oo!0en+ra&in+ "$; x "0$ mm en+r, Dal:iel 7rothers* Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* i* recto facin+ p, ;$, -ohn .&erett illais* 2M ar(*/Nshe sai!* Mthe men are here,N/J )oo!0en+ra&in+ "75 x ""2 mm en+r: Dal:iel 7rothers* in Anthony Trollope* Bramley =arsona+e* Cornhill a+a:ine ; @ arch "#$"A* recto facin+ p,;%2, "7, =en+uin 1ac(ets* Bramley =arsona+e "6#% an! 200%J 1ac(ets of Anthony Trollope* Bramley =arsona+e* in the "6#% =en+uin e!ition* an! the 200% reprint, -ac(et of Anthony Trollope* >rley Barm* Dorl!/s Classics* "6#5J ac(et of Anthony Trollope* >rley Barm* in the Dorl!/s Classics e!ition of "6#5, -ohn .&erett, illais* 2Bare)ellK/J )oo!0en+ra&in+ "7,2 x "0,7 cm en+r: Dal:iel 7rothers* in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* ii* &erso facin+ p, ;05, -ohn .&erett illais* 2It/s all the fault of the nau+hty bir!s/J )oo!0en+ra&in+ "5# x "02 mm en+r, Dal:iel 7rothers* in Anthony Trollope* The 'mall 8ouse at Allin+ton* Cornhill a+a:ine $ @4o&ember "#$2A* &erso facin+ pa+e $$;, -ohn .&erett illais* 2<our son Lucius !i! say G shoppin+,/J )oo!0en+ra&in+ "$7 x "0$ mm en+r, Dal:iel 7rothers* in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* i* recto facin+ p, 6# -ohn .&erett illais* 27rea! 'auce is so Tic(lish/J )oo!0en+ra&in+ "$# x "0$ mm en+r: Dal:iel 7rothers* in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* ii* recto facin+ p, %#, -ohn .&erett illais* 2 r, Chaffanbrass an! r, 'olomon Aram/J )oo!0en+ra&in+ "7" x "07 mm en+r: Dal:iel 7rothers* in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* ii* recto facin+ p, "72, -ohn .&erett illais* 2=ere+ine/s .lo3uence/ J )oo!0en+ra&in+ "$6 x "0$ mm en+r: Dal:iel 7rothers* in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* i* &erso facin+ p, 2#6, -ohn .&erett illais* 2 on(ton 9ran+e/J )oo!0en+ra&in+ "$6 x "0$ mm en+r, Dal:iel 7rothers* in Anthony Trollope* >rley Barm 2 &ols @Lon!on: Chapman C 8all* "#$2A* i* recto facin+ p, 2"$,

Visit of the =rince of Dales to erton 8all* 4orfol(J 2Visit of the =rince of Dales to erton 8all* 4orfol(* the 'eat of Lor! Dalsin+ham, The eet of the Dest 4orfol( 8unt/* )oo!0en+ra&in+ 2;7mm x ;%2mm* Illustrate! Lon!on 4e)s %$ @2" -anuary "#$5A* 72, Copyri+ht: This article is copyri+ht W 2007 Centre for .!itorial an! Intertextual ?esearch* an! is the result of the in!epen!ent labour of the scholar or scholars cre!ite! )ith authorship, The material containe! in this !ocument may be freely !istribute!* as lon+ as the ori+in of information use! has been properly cre!ite! in the appropriate manner @e,+, throu+h biblio+raphic citation* etc,A, Citin+ this article: '(ilton* Da&i! , MThe Centrality of Literary Illustration in Victorian Visual Culture: the example of illais an! Trollope from "#$0 to "#$%,N -ournal of Illustration 'tu!ies @December 2007A, "$ -an 20"%, Xhttp:PP))),1ois,cf,ac,u(Particles,phpHarticleQ;0Y Z[