NOTES

 

Abbreviations used in footnotes

B&J	Butlin, Martin and Evelyn Joll, The Paintings of J. M. W. Turner, 2 vols, revised edn, 1984
BL	British Library, London
BM	British Museum, London
Bodleian	Bodleian Library, University of Oxford
Chantrey Correspondence	V&A, NAL, 86.YY.17
Constable’s Correspondence	Beckett, R. B. (ed.), John Constable’s Correspondence, 6 vols, 1962–9
FD	Farington, Joseph, The Diary of Joseph Farington RA, 1793–1821 (ed. Kenneth Garlick, Angus Macintyre and Kathryn Cave), 16 vols, 1978–84
Flaxman Papers	Flaxman Papers, BL Add Ms 39780–39791
Graves Papers	Graves Papers, BL Add MS 46140
Griffith Papers	Thomas Griffith Papers, 1831–69, 11021-z, Rare Book, Literary and Historical Papers, Wilson Library, University of North Carolina at Chapel Hill
Hamilton, Faraday	Hamilton, James, Faraday: The life, 2002
Hamilton, London Lights	Hamilton, James, London Lights: The minds that moved the city that shook the world, 1805–1851, 2007
Hamilton, Turner	Hamilton, James, Turner: A life, 1997
Haydon Diary	Pope, W. B. (ed.), The Diary of Benjamin Robert Haydon, 5 vols, 1960–3
John Murray Archive	John Murray Archive, National Library of Scotland
Landseer–Bell Papers	Royal Institution of Great Britain Archive, London, RI MS LAN
Landseer Correspondence	V&A, NAL, 86.RR.2, MSL/1962/1316
Lennie	Lennie, Campbell, Landseer: The Victorian paragon, 1976
Maw Papers	BL Add MS 45883
Northcote Papers	James Northcote, Correspondence and papers, c.1797–1830, V&A, NAL, 86.AA.26
NPG	National Portrait Gallery, London
Nygren	Nygren, Edward, ‘James Ward, RA (1769–1859): Papers and patrons’, Walpole Society, vol. 75, 2013
O’Keeffe	O’Keeffe, Paul, A Genius for Failure: The life of Benjamin Robert Haydon, 2009
ODNB	Oxford Dictionary of National Biography, 2004
Phil. Trans.	Philosophical Transactions of the Royal Society
Pye Papers	John Pye, Correspondence and papers, 1813–84, V&A, NAL, 86.FF.73
Pye, Patronage	Pye, John, Patronage of British Art: An historical sketch, 1845
RA	Royal Academy of Arts, London
Roscoe	Roscoe, Ingrid (ed.), A Biographical Dictionary of Sculptors in Britain, 1660–1851, 2009
TB	Turner Bequest, Tate Britain
Thornbury	Thornbury, Walter, The Life and Correspondence of J. M. W. Turner RA, 1862, revised edn, 1897
Turner Correspondence	Gage, John, The Collected Correspondence of J. M. W. Turner, 1980
V&A, NAL	National Art Library, Victoria and Albert Museum, London
Waagen, 1853–7	Waagen, Gustav Friedrich, Treasures of Art in Great Britain, being an account of the chief collections of paintings, drawings, sculptures, illustrated MSS etc, 1853–7, 4 vols.
Whitefoord Papers	BL Add MS 36592–36597
Wornum Diary	Diary of Ralph Wornum, National Gallery Archive, London
Yarrington, Ledger	Yarrington, Alison et al., ‘An Edition of the Ledger of Sir Francis Chantrey, RA, at the Royal Academy, 1809–1841’, Walpole Society, vol. 56, 1991–2

Introduction: A Sharp and Shining Point

page no.
1	‘to give a sterling and lasting value’: Times advertisement, 23 Oct 1855.
2	Thomas Boys’s justification: Illustrated London News, 27 Oct and 3 Nov 1855; Times, 22 Nov 1855, letter from Thomas Boys.
3	William Woollett’s celebrations: Louis Fagan, A Catalogue Raisonné of the Engraved Works of William Woollett, 1885, introduction, p. xv; M. T. S. Raimbach (ed.), Memoirs and Recollections of the Late Abraham Raimbach, Esq., Engraver, 1843, p. 15, footnote.
3	‘Engravings and casts of statuary’: Pye, Patronage, epigraph.
4	‘It is the highest impertinence and presumption’: Adam Smith, The Wealth of Nations, 1776, book 2, ch. 3, ‘Of the Accumulation of Capital . . .’ Penguin edn, ed. Kathryn Sutherland, 1993, p. 209.

1 Conditions of Success

5	Meeting outside a print shop in Bath: Admiral Croft and Anne Elliot. Jane Austen, Persuasion, 1818, ch. 18.
6	Reynolds’s prices: M. Kirby Talley, ‘“All Good Pictures Crack”: Sir Joshua Reynolds’s practice and studio’, in Nicholas Penny (ed.), Reynolds, Royal Academy of Arts, 1986, p. 58.
7	Opie’s view on Turner’s prices: FD, 22 May 1804, vol. 6, p. 2328.
8	Albion Flour Mill: The whole was demolished in the 1860s. Edward Walford, Old and New London, 1878, vol. 8, p. 383.
8	For insight into the early social consequences of the coming of the steam-engine, see Shena Mason (ed.), Matthew Boulton: Selling what all the world desires, 2009.
9	‘wild beast’: L. T. C. Rolt, Isambard Kingdom Brunel, 1957, p. 133 (1989 edn).
9	Etty’s Joan of Arc: The central canvas is now in the Musée de Beaux Arts, Orléans; the left-hand canvas in Llantarnam Abbey, Cwmbran, Wales. The painting was 9 feet 9 inches high by 28 feet long overall. Dennis Farr, William Etty, 1958, pp. 134–5. ‘Great Room’ observation in Alexander Gilchrist, Life of William Etty, 1855, vol. 2, p. 224. See also Leonard Robinson, William Etty: His life and art, 2007.
10	‘Lantern Yard’s gone’: George Eliot, Silas Marner, 1861, ch. 21.
11	Farington on Beckford: FD, 20 July 1796, vol. 2, p. 612; FD, 4 Oct 1797, vol. 3, p. 901.
11	Defoe’s economic classes: Daniel Defoe, A Review of the State of the British Nation, vol. 6, no. 36 (25 June 1709), p. 142.
12	‘Abominably rich’: Castalia, Countess Granville (ed.), Lord Granville Leveson-Gower: Private correspondence 1781–1821, 1917, vol. 2, p. 363. Henry Reeve (ed.), Charles Greville Memoirs, vol. 3, ch. 21, p. 20 (July 1833); FD, 16 April 1806, vol. 7, p. 2720.
13	Leicester’s obituary: Gentleman’s Magazine, 1827, pp. 273–4.
13	Hope’s carved furniture: William Maltby (ed.), Recollections of the Table-Talk of Samuel Rogers, 1856, p. 158.
13	Leveson-Gower’s gallery visitors: John Britton, Preface to The Marquess of Stafford’s Collection, 1808, p. v.
13	‘her largeness and her overflow’: from Samuel Taylor Coleridge’s poem ‘The Blossoming of the Solitary Date Tree’, verse 3 (1805)
14	Hairdressing prices: F. A. Pottle (ed.), Boswell’s London Journal 1762–1763, 1950, p. 336; A. R. Ellis (ed.), The Early Diaries of Frances Burney 1768–1778, 1913, vol. 2, p. 289; The Mawhood Diary, 17 Aug 1778, Catholic Record Society, 1956, vol. 50, p. 130. See also Hamilton, Turner, p. 13.
14	Turner’s youthful prices: Thornbury, p. 25.
15	Faraday the bookbinder: Hamilton, Faraday, p. 9.
15	‘Mr Dance’s kindness’: Michael Faraday to George Riebau, 5 Jan 1815; Frank A. J. L. James (ed.), The Correspondence of Michael Faraday, 1811–1831, vol. 1, 1991, no. 44. See also Hamilton, Faraday, p. 110.
15	Coleridge’s early life: E. L. Griggs (ed.), The Collected Letters of Samuel Taylor Coleridge, 1956–71, vol. 1, pp. 347, 388, 412; Richard Holmes, Coleridge: Early visions, 1989, pp. 2, 24, 112, 187, 271. See also Tom Mayberry, Coleridge and Wordsworth: The crucible of friendship, 1992, rev. edn, 2000.
17	John Julius Angerstein: see ODNB.
18	Angerstein considers an elderly marriage: FD, 9 Sept 1819, vol. 15, p. 5405.
19	‘Italy for ever I say’: Richard Cosway to Charles Townley, 24 Feb 1772, BM Townley Archive, TY7/2028 [sold Sotheby’s 27 July 1992, lot 334], quoted Viccy Coltman, Classical Sculpture and the Culture of Collecting in Britain since 1760, 2009, pp. 181–2. See also Stephen Lloyd, Richard and Maria Cosway: Regency artists of taste and fashion, 1995, pp. 30–1.
20	Cuguano’s baptismal name was John Stuart. He campaigned against slavery in correspondence and publication. ODNB, Ottobah Cuguano.
20	‘toujours riant’: William Hazlitt, ‘On the Old Age of Artists’, Essay IX in The Plain Speaker: Opinions of books, men and things, vol. 1, 1826, p. 266.
20	‘What a fairy palace’: A. R. Waller and A. Glover (eds), The Collected Works of William Hazlitt, 1902–6, vol. 12, pp. 95–6.
21	Lawrence to Farington: Royal Academy Archive, Lawrence MSS, LAW/1/289, 29 Oct 1811.
21	Green’s ‘total want of employ’: Granted £30 by the Royal Literary Fund, 21 June 1804. British Library, Loan 96 RLF 1/156.
21	Breakfast with Rogers: Diary of Isabella Mary Hervey, 21 May 1851, p. 167, University of Birmingham, Cadbury Research Library, MSS 7/iii/6 MS 557/vol. 1.
22	Recollections of Rogers: Thomas Moore to Lady Donegal, 13 Aug 1812, Wilfred S. Dowden (ed.), The Letters of Thomas Moore, vol. 1 (1793–1818), 1964, no. 246; FD, 8 March 1814, vol. 13, p. 4463.
23	‘Dined at Lord Lovelace’s’: John Cam Hobhouse, Recollections of a Long Life, 10 May 1849, vol. 6, p. 238.
23	‘they who bear all the heat of the day’: Liverpool Papers, British Library, Add MSS 38334, 29 ff.
24	‘the furniture of that room’: Friedrich von Raumer, England in 1835: Being a series of letters written to friends in Germany, 1836, p. 47.
25	‘In my bedroom’: Hippolyte Taine, Notes on England, 1873, pp. 182–3.
25	Emilia Venn Diary, 4 March, 12–13 Dec 1825, 23 Jan, 1 Feb 1826; University of Birmingham, Cadbury Research Library, Venn MS F9.
26	Thomas Donaldson to Robert Finch, 12 April 1824; and letter received 21 Feb 1825. Finch Papers, Bodleian, vol. 5, ff. 148–9, 154–5.
27	John Dickens loses his job: Claire Tomalin, Charles Dickens: A life, 2011, p. 32.
27	‘The Great Panic’: Alaric Watts, A Narrative of his Life, 1884, vol. 1, p. 219.
27	Woolletts’ daughter’s losses: FD, 28 May and 5 June 1819, vol. 15, pp. 5370, 5374.
28	‘Funds for the Windsor Bank!’: Charles Knight, Passages of a Working Life, 1864, vol. 2, pp. 39–41.
28	Failure of Strahan, Paul & Co.: 22 June 1855. Ian Smith (ed.), The Apprenticeship of a Mountaineer: Edward Whymper’s London diary, 1855–1859, London Record Society, vol. 43, 2008, p. 16.
28	Death of Merdle: Charles Dickens, Little Dorrit, 1857, ch. 25.

2 Patron Old Style: ‘Business is often friendship’s end’

30	‘The Arts will always flourish’: Joseph Banks to William Smith MP, 14 May 1805. Chambers, Neil (ed.), The Letters of Sir Joseph Banks: A selection, 1768–1820, 2001, letter 101, pp. 268–9.
31	‘Persons of worship’: Amelia Opie, ‘A Memoir of John Opie’ in John Opie, Lectures in Painting, 1809, p. 43.
31	‘Painting of old’: Richard and Samuel Redgrave, A Century of British Painters, 1866. Phaidon edn, 1947, p. 55; quoted in M. Kirby Talley, op. cit., p. 55.
31	Sale-ravaged Bowood: James Miller, The Catalogue of Paintings at Bowood House, 1982.
31	Lord Egremont to Francis Chantrey, 12 Oct [n.y.], Chantrey Correspondence, V&A, NAL, 86.YY.17.
32	‘I have been a Whig’: Creevey Papers, 3 Feb 1806. Quoted in entry for Walter Fawkes, in R. G. Thornes (ed.), The History of Parliament: The House of Commons, 1790–1820, 1986.
33	Fairfaxiana: James Hamilton, Turner’s Britain, 2003, pp. 169–72.
33	Fawkes’s finances: Hamilton, Turner, 1997, pp. 186 and 224–5.
33	‘you must stay a few days with me’: Walter Fawkes to John Buckler, n.d. [prob. c.1819–20]. ‘Letters and papers which were much prized by John Buckler FSA’, Bodleian, MS Eng. Lett a 1, 91.
33	the ‘delight I have experienced’: Open letter to J. M. W. Turner from Walter Fawkes, published in the catalogue to the exhibition of Turner’s works at 45 Grosvenor Place, April 1819. Turner Correspondence, 83.
34	Whitbread and Fawkes: 9 April 1807, Change of Administration debate, Hansard Parliamentary Debates, series 1, vol. 9, cols 284–349.
34	‘a black bottle of English porter’: William Maltby (ed.), Recollections of the Table-Talk of Samuel Rogers, 1856, pp. 42–3.
34	Whitbread’s brewery: Sam Whitbread, ‘Plain Mr Whitbread’: Seven centuries of a Bedfordshire family, 2007, p. 15. I would like to thank James Collett-White for his comments on this chapter.
35	‘The wonder of everybody’: Sam Whitbread, ‘Plain Mr Whitbread’: Seven centuries of a Bedfordshire family, 2007, p. 16.
35	‘lost too much by kindness’: Roger Fulford, Samuel Whitbread (1764–1815): A study in opposition, 1967, pp. 31–47; R. G. Thornes (ed.), The History of Parliament: The House of Commons 1790–1820, 1986, vol. 5, entry on Samuel Whitbread I.
36	‘You express yourself handsomely’: Samuel Whitbread I to Samuel Whitbread II, 25 Jan 1785. Waldegrave Papers, Chewton Mendip, quoted in Fulford, op. cit., p. 14.
36	‘a tolerably easy source of income’: Recalled by Sam Whitbread in Foreword to Stephen Deuchar, Paintings, Politics and Porter: Samuel Whitbread (1764–1815) and British art, 1984, p. 7.
36	‘very very very much with Fox and co.’: Thornes, loc. cit.
36	Southill Park purchase: Gervase Jackson-Stops, ‘Southill Park, Bedfordshire’, Country Life, 28 April 1994.
37	‘a collection of the works of English Artists’: FD, 24 June 1796.
37	Blind Milton: Whitbread bought this painting in 1793. FD, 19 May 1796. Oliver Millar, Southill: A Regency house, 1951, p. 46, note 4; www.npg.org.uk/research/conservation/directory-of-british-framemakers/g.php.
37	Whitbread’s purchases: Deuchar, op. cit., p. 11.
38	‘nearly bankrupt in hope’: S. W. Reynolds to Tom Adkin, 10 Oct 1801, Bedfordshire Record Office, W1/4030, quoted in Deuchar, op. cit., p. 21. FD, 9 Sept 1803.
39	‘Garrard is a very ingenious little fellow’: Samuel Whitbread to Lee Antonie, 1 Oct 1811, Bedfordshire Record Office, UN/460. Quoted in Deuchar, op. cit., p. 39.
39	‘formed a collection of models’: Rudolph Ackermann, Views of London, 1816, p. 49.
41	‘jack-of-all-trades’: J. T. Smith (ed. William Whitten), Nollekens and his Times, 1920, vol. 1, p. 314. See also entry for George Garrard in Roscoe.
41	‘New Renters’: Tracy C. Davis, The Economics of the British Stage 1800–1914, 2000, pp. 256 ff.
42	Cartoons of Whitbread: Charles Williams, ‘Clearing Away the Rubbish of Old Drury’, October 1811; Charles Williams, ‘Act the 2d of the New Drury Lane Brewery or a Managers Spur to Progress’, January 1812; George Cruikshank, ‘Management – or – Butts & Hogsheads’, December 1812, Catalogue of Personal and Political Satires in . . . British Museum, vol. 9, 1811–19, nos 11767, 11936, 11940, 1949.
42	Edmund Kean: FD, 7 March 1814, vol. 13, p. 4462.
42	‘It is no slight homage’: Thornes, loc. cit.
43	‘supreme Dictator’: FD, 6 July 1809, vol. 10, p. 3508.
43	‘permanent public school prefect’: Gerald Reitlinger, The Economics of Taste: The rise and fall of picture prices 1760–1960, 1961, p. 85.
43	Beaumont’s income: FD, 2 June 1804, vol. 6, p. 2341.
44	Ward’s Gordale Scar: Nygren, p. 210.
45	‘they did nothing, morning, noon or night’: Tom Taylor (ed.), Life of Benjamin Robert Haydon Historical Painter, from his Autobiography and Journal, 1853, vol. 1, p. 123.
45	‘the greatest Lion hunters of the day’: Sir Augustus Wall Callcott commonplace book, n.d.; Bodleian, MS Eng. e.2425; f.356 53.
45	Haydon’s abusive letters: O’Keeffe, p. 98.
45	‘It is over three years’: Jan 1810. Haydon Diary, vol. 1, pp. 124–5.
46	Leicester’s gallery: Selby Whittingham, ‘“A most Liberal Patron”: Sir John Fleming Leicester, Bart, 1st Baron de Tabley, 1762–1827’,Turner Studies, vol. 6, no. 2 (winter 1986), pp. 24–36.
46	‘Leicester/Should feel . . .’: S. B., Literary Gazette, 1819. Quoted in Douglas Hall, ‘The Tabley House Papers’, Walpole Society, vol. 38 (1960–2), p. 122.
46	‘The only thing we can say’: Examiner, 2 July 1826, p. 418.
47	Leicester’s ‘unclouded temper’: William Paulet Carey, Some Memoirs of the Patronage and Progress of the Fine Arts in England and Ireland . . . with Anecdotes of Lord de Tabley, of Other Patrons, and of Eminent Artists, and Occasional Critical References to British Works of Art, London, 1826, p. 15; Augustus Wall Callcott to Sir John Leicester, 7 Nov 1805, Hall, op. cit., letter 11, p. 66. On Carey: Notes and Queries, 4th series, vol. 5, 21 May 1870, pp. 481–4.
47	‘the Owen, Callcott and Thompson squad’: James Ward to George Ward, 19 Dec 1823. Nygren, p. 162 (letter 83).
47	Gainsborough’s Cottage Door: John Britton to Sir John Leicester, 23 Oct 1808, Hall, op. cit., p. 70 (letter 41).
47	‘I well know the utter impropriety’: Benjamin Robert Haydon to Sir John Leicester, 6 July 1819, ibid., p. 73 (letter 57).
47	‘It has often I confess’: Sir John Leicester to James Northcote (not John Martin, as catalogued), 20 April 1823, James Northcote, Correspondence and papers, c. 1797–1830, V&A, NAL, 86.AA.26; MSL/1930/2534/93. The Alpine Traveller is thought to have been destroyed in 1916; see Hall, op. cit., p. 86, note 4. FD, 26 Dec 1810, vol. 10, p. 3836.
48	David Wilkie’s Village Holiday (1809–11), then known as The Ale-House Door, belonged to Angerstein and was included in the purchase of his collection. It is now in Tate Britain. Wilkie died in 1841.
48	Beckford’s affair: See FD, 16 March 1799, vol. 4, p. 1175; 14 Dec 1807, vol. 8, p. 3167.
49	‘Beckford wishes me to go to Fonthill’: 18 Oct 1818, Wilfred S. Dowden (ed.), The Journal of Thomas Moore, 1983, vol. 1, p. 67.
49	On Fonthill: John Martin Robinson, James Wyatt: Architect to George III, 2012, pp. 234–8, 331–2.
49	‘might drive a coach and four’: FD, 20 July 1796, vol. 2, p. 612.
50	On Fonthill’s cold and Samuel Rogers: Lady Bessborough to Lord Granville, 28 Oct 1817, Castalia, Countess Granville (ed.), Lord Granville Leveson-Gower: Private correspondence, 1781–1821, 1917, vol. 2, p. 545.
50	‘This spot alone shall be my heaven’: Mary Ann Britton to William Beckford, 5 Sept 1822. Beckford Papers, Bodleian, c.27, ff.14–15.
51	Fonthill: FD, 31 Dec 1796 and 6 Jan 1797, vol. 3, pp. 734 and 739; 1 July 1801, vol. 4, p. 1571; 14 Dec 1807, vol. 8, p. 3166.
52	‘as mad a picture’: Reitlinger, op. cit., p. 83.
52	‘cold unfocused gaze’: James Hamilton, ‘“The time must come”: Turner and royalty’, Turner Society News, vol. 118 (autumn 2012), pp. 8–17.
52	‘It is a bad thing to refuse the “Great”’: John Constable to C. R. Leslie, 5 July 1831, Constable’s Correspondence, vol. 3, 1965, p. 41.

3 Patron New Style: ‘The delicate lips of a horse’

53	Schofield in London: Isaac Schofield to Messrs. J. Schofield, Boston, 21 Aug 1840, BL Add MS 88892.
54	‘cheerful little villa’: John Ruskin, Praeterita, 1859, 35.253n. William Robinson, The History and Antiquities of the Parish of Tottenham in the County of Middlesex, 1840, vol. 1, p. 84. Selby Whittingham, ‘The Turner Collector: Benjamin Godfrey Windus 1790–1867’, Turner Studies, vol. 7, no. 2 (winter 1987), pp. 29–35.
54	John Scarlett Davis, The Library at Tottenham, the Seat of B. G. Windus, Esq., showing his Collection of Turner Watercolours, signed and dated, 1835. British Museum, Department of Prints and Drawings, 1984.0121.9.
55	Gothic Hall, Hackney: See Gentleman’s Magazine, 2nd series, 43, 1855, pp. 432–4.
55	Windus coach-makers: Corporation of London General Purposes Committee minutes, vol. 4, 1805–8, p. 200; General Purposes Committee minutes, 1818– 21, 20 Oct 1820, COL/MH/LM/07. Masters of the Worshipful Company of Coachmakers: Arthur Windus 1794, Edward William Windus 1810, Thomas Windus 1823, Benjamin Windus 1826.
55	Godfrey’s Cordial: J. Burnby, ‘Godfrey’s Cordial Again’, Pharmaceutical Historian, 23/2 (1993), 2.
56	‘I believe the really first sight’: Ruskin, loc. cit.
56	‘I am now engaged’: John Scarlett Davis to J. M. Ince, 1835; quoted in Thornbury, vol. 1, p. 327, and A. J. Finberg, The Life of J. M. W. Turner RA, 1961, p. 353. See also Eric Shanes, ‘Picture Notes: John Scarlett Davis, The Library . . . of B. G. Windus Esq . . .’, Turner Studies, vol. 3, no. 2 (winter 1984), pp. 55–8; and Selby Whittingham, op. cit.
57	‘the very brightest of blue eyes’: J. G. L. Burnby, ‘Pharmaceutical Connections: The Maw family’, Pharmaceutical Historian, vol. 15, no. 2 (June 1985), pp. 9–11.
58	‘I have duly entered your order’: John Sell Cotman to John Hornby Maw, 23 Nov 1835, Maw Papers, f. 5.
58	‘if you will let me know’: William Henry Hunt to John Hornby Maw, 17 July 1837, Maw Papers, f. 22; Samuel Prout to John Hornby Maw, n.d. [?1836], Maw Papers, f. 31; John Sell Cotman to John Hornby Maw, n.d., Maw Papers, f. 18.
59	‘over these same encaustics’: From John Betjeman’s poem ‘St Saviour’s, Aberdeen Park, London, N’.
59	‘I will do anything in my power’: C. W. Cope to John Hornby Maw, 2 Sept 1862, Maw Papers, f. 64.
60	‘I left your house’: John Sell Cotman to John Hornby Maw, n.d. [1838, before 15 March], Maw Papers, f. 13.
61	On collectors: Dianne Sachko Macleod, ‘Art Collecting and Victorian Middle-Class Taste’, Art History, vol. 10, no. 3 (Sept 1987), pp. 328–50.
62	A valuable source on Vernon’s collection is Robin Hamlyn, Robert Vernon’s Gift: British art for the nation 1847, 1993.
62	‘Every room in his mansion’: ‘Visits to Private Galleries: The mansion of Robert Vernon Esq. in Pall Mall’, Art-Union, vol. 1, March 1839, p. 19.
63	‘The Art Union is a perfect curse’: William Maltby (ed.), Recollections of the Table-Talk of Samuel Rogers, 1856, p. 112.
63	Joseph Gillott: See Jeannie Chapel, ‘The Papers of Joseph Gillott (1799–1872)’, Journal of the History of Collections, 2007, pp. 1–48.
65	Etty–Gillott Correspondence, University of Birmingham, Cadbury Research Library, XMS 94.
65	View of the Temple of Jupiter Panellenius: The full title continues – in the Island of Ægina, with the Greek National Dance of the Romaika: the Acropolis of Athens in the Distance. Painted from a sketch taken by H. Gally Knight Esq. in 1810.
65	‘Turner’s a rum chap’: William Etty to Joseph Gillott, 14 April 1846; Gillott Papers, Getty Research Institute, 4WE-4, quoted in Chapel, op. cit., p. 13.
65	‘a most voracious collector’: Thomas Balston, John Martin 1789–1854: His life and works, 1947, p. 145; J. G. Millais, The Life and Letters of Sir John Everett Millais, 1899, pp. 17–18; Whistler: http://etchings.arts.gla.ac.uk/catalogue/biog/?nid=ThomS.
66	‘the good star which had presided’: Waagen, 1853–7, vol. 4, pp. 401–4. Quoted in Chapel, op. cit.
66	‘trains from Euston Square’: Robert Peel to John Lucas, 1 Sept [1843]. A collection of letters mainly to John Lucas, and the artist’s son John Seymour Lucas, RA. V&A, NAL, 86.WW.12. MS.L.5116/626–1979.
66	Tyntesfield: See James Miller, Fertile Fortune: The story of Tyntesfield, 2003.
67	‘Amongst our wealthy manufacturers’: [S. C. Hall], ‘The Prospects of British Art’, Art-Union, vol. 9, 1847, p. 5.
68	‘The old nobility and land proprietors’: Thomas Uwins to John Townshend, 14 Jan 1850, in Sarah Uwins, A Memoir of Thomas Uwins RA, 1858, vol. 1, p. 125.
68	‘For one sign of the good sense’: Sir Charles Eastlake, Contributions to the Literature of the Fine Arts with a Memoir Compiled by Lady Eastlake, 2nd edn, 1870, p. 147. Quoted in Dianne Sachko Macleod, Art and the Victorian Middle Class: Money and the making of cultural identity, 1996, p. 5.
69	Dickens in Rochester: Charles Dickens, The Uncommercial Traveller, XII, ‘Dullborough Town’, from All the Year Round, 30 June 1860.
69	‘make yourself a perfect master’: Baxendale Papers, quoted in Gerald L. Turnbull, Traffic and Transport: An economic history of Pickfords, 1979, p. 49.
69	‘the Benjamin Franklin of business’: Sam Smiles, Thrift, 1875, pp. 189 ff. See entry for Joseph Baxendale, ODNB.
70	‘My self-conceit’: 13 Oct 1827. Personal Diary of I. K. Brunel, University of Bristol Library, Special Collections, DM 1306/II.1.
72	Brunel’s Shakespeare Room: Hilaire Faberman and Philip McEvansoneya, ‘Isambard Kingdom Brunel’s “Shakespeare Room”’, Burlington Magazine, vol. 137, no. 1103, Feb 1995, pp. 108–18. Brunel’s letter to Landseer, 27 Dec 1847, quoted.
74	‘This room, hung with pictures’: Isambard Brunel, The Life of Isambard Kingdom Brunel, 1870, p. 507.
75	‘It must be borne in mind’: Pye, Patronage, pp. 66–7.

4 Painter: ‘Painting is a strange business’

76	Gandy ‘hunted down’: John Constable to C. R. Leslie, 4 Nov 1831, Constable Correspondence, vol. 3, p. 50. Brian Lukacher, Joseph Gandy: An architectural visionary in Georgian England, 2006, p. 56. Soane Notebook, 24 Nov 1816, Sir John Soane’s Museum. John Constable to C. R. Leslie, 26 Nov 1831, Constable’s Correspondence, vol. 3, p. 51.
78	‘Young Eastlake has determined’: Jan 1809. Haydon Diary, vol. 1, p. 45.
78	Quoted in O’Keeffe, p. 139.
78	Haydon’s tuition charges: 1 Jan 1820 fMS ENG 1331 (158), Harvard University, Houghton Library. Quoted in O’Keeffe, p. 140.
79	‘If there be any noble-minded boy’: Benjamin Robert Haydon, Lectures on Painting and Design, vol. 1, p. 104, quoted in O’Keeffe, p. 360.
79	‘Suppose we employ Callcott?’: O’Keeffe, p. 358.
79	Cold Bath Fields: O’Keeffe, pp. 124–7.
79	Turner, ‘Old London Bridge’ sketchbook, TB CCV, f. 1. In the same sketchbook (f. 44) is a pencil study of Rubens’s Chapeau de Paille with colour notes. This painting was exhibited in London in 1823.
80	‘Sir, Will you permit me’: Times, 12 May 1835, p. 3.
80	Wellington’s frock coat, etc.: O’Keeffe, p. 394.
81	‘Harrass, threats, harrass’: O’Keeffe, p. 357.
81	‘to relieve . . . present difficulties’: 14 Jan 1830, fMS ENG 1331 (24), Harvard University, Houghton Library, quoted in O’Keeffe, p. 360.
81	‘spare my life’: O’Keeffe, p. 127.
81	Mary Haydon: O’Keeffe, pp. 217, 343.
82	‘God bless thee, dearest love’: O’Keeffe, p. 496.
82	‘The art is becoming a beastly vulgarity’: 4 Oct 1844. Haydon Diary, vol. 5, p. 393.
82	‘limning or drawing is a bad trade’: C. M. Kauffmann, John Varley (1778–1842), 1982, p. 11. Varley’s biographical details come from here and ODNB.
84	‘It is not enough to tell you’: Ibid., p. 39. Quoted from S. D. Kitson, ‘Notes on a Collection of Portrait Drawings Formed by Dawson Turner’, Walpole Society, vol. 21 (1932–3), pp. 67–104; John Linnell, Autobiography, quoted in A. T. Storey, The Life of John Linnell, 1892.
84	‘Varley’s Hot Rolls’: Kauffmann, op. cit., p. 33; Jenkins MS, Bankside Gallery.
85	‘I have bought a little drawing’: John Constable to C. R. Leslie, 22 Aug 1831, Constable’s Correspondence, vol. 3, p. 43.
86	‘Thompson’s caprices’: John Constable to C. R. Leslie, ?Nov 1831, Constable’s Correspondence, vol. 3, p. 51.
86	‘for envious hatred’: Thomas Lawrence to Joseph Farington, 29 March 1805. RA Archive, LAW/1/122.
86	‘a vain man’: Cyrus Redding, Fifty Years of Recollections, vol. 2, 1858, p. 299.
86	‘I wish particularly to know’: Francis Chantrey to John Constable, 8 Feb 1826, R. B. Beckett (ed.), John Constable: Further documents and correspondence, Tate Gallery and Suffolk Records Society, 1975, p. 193.
86	‘He stabbed his mother!’: Hamilton, Turner, p. 299.
87	‘Haydon shunned by them’: James Ward Journal, 2 May 1818. Nygren, p. 38.
87	‘Mr Phillips . . . caught me by the other ear’: John Constable to C. R. Leslie, 5 Feb 1828. Constable’s Correspondence, vol. 3, p. 12.
87	‘At the beginning of the present century’: Pye, Patronage, pp. 3–4.
88	Fund supporters: Artists’ Annuity and Benevolent Fund archive, GB 0074 CLC/114, London Metropolitan Archives.
88	Whitbread’s speech: 1 April 1814. FD, vol. 13, pp. 4477–8.
88	Fund claims: 11 Aug 1810. Artists’ Fund, minutes of committee and quarterly general meetings, 1810–22. London Metropolitan Archives, CLC/114/MS23652; Artists’ Benevolent Fund, audited account book 1812–17, LMA CLC/114/MS23674. Artists’ Benevolent Fund annuitants’ book 1831–44, with retrospective information from 1816 and continued to 1844. LMA CLC/114/MS23676.
88	Fund premiums: Pye, Patronage, p. 381.
88	Fund pensions: Artists’ Fund minutes, op. cit., 20 Oct 1817.
89	David Uwins, homeopath: Artists’ Fund minutes, op. cit., 20 Oct 1817.
89	Chancellor’s speech: Times, 8 May 1826, cutting in Artists’ Benevolent Fund Form Book, 1825–43. LMA, CLC/114/MS23670.
90	‘the whole of this money’: Morning Chronicle, 9 May 1836, cutting, loc. cit.
90	J. M. W. Turner’s A.G.B.I. notes, ‘Old London Bridge’ sketchbook, TB CCV, f. 6; ‘Academy Auditing’ sketchbook, TB CCX(a).
90	Turner’s investments will be illuminated by Eric Shanes in his forthcoming biography of J. M. W. Turner.
91	Turner’s consols: ‘Finance’ sketchbook, TB CXXII, receipts in notebook pocket, figures totalling £823.5s.7d and £623.11s.2d, i.e. £1,446.16s.9d. I am grateful to Eric Shanes for illuminating these figures for me.
91	‘He has got poor Eastlake’: John Constable to C. R. Leslie, 26 Sept 1831, Constable’s Correspondence, vol. 3, p. 47. The auction was held in July 1831.
91	‘a modest, well behaved young man’: FD, 20 March 1805, vol. 7, p. 2532; Pye, Patronage, pp. 66–7 and footnote.
92	Callcott’s prices: David Blayney Brown, Augustus Wall Callcott, 1981, p. 13.
92	‘talked to me a great deal’: Maria Callcott to John Murray Jnr [i.e. John Murray III], 5 Dec 1835; John Murray Archive, National Library of Scotland.
92	‘The intrepid Mrs Graham’: Lady Holland to Caroline Fox, in the Earl of Ilchester, Chronicles of Holland House, 1937, p. 108. On Maria and Augustus Callcott: John Constable to C. R. Leslie, 9 April 1832, Constable’s Correspondence, vol. 3, p. 66; Lady Holland to Caroline Fox, in Earl of Ilchester, op. cit., pp. 108–9; Richard and Samuel Redgrave, A Century of British Painters, Phaidon edn, 1947, p. 376. Hamilton, London Lights, pp. 159–60. Largely forgotten in the twentieth century, in the twenty-first Maria Callcott is beginning to resurface: in an article about the discovery of a slave graveyard in Rio de Janeiro in 2011 it was she (as Maria Graham) who the Guardian quoted as expressing horror at the treatment of African slaves in Brazil; Guardian, 4 Dec 2011. See also Regina Akel, Maria Graham: A literary biography, 2009.
93	‘a dying woman’: Callcott Papers, 22 Nov 1840, Bodleian, MS Eng. d. 2281.
93	Harriet Rogers: Callcott Papers, op. cit., 3 Dec 1840.
94	‘Edwin himself thrown back’: Callcott Papers, op. cit., 25 Nov 1840.
95	On Landseer: John Constable to C. R. Leslie, Constable’s Correspondence, vol. 3, p. 22, with sketch; p. 25, 31 Jan 1830. M. W. Chapman (ed.), Harriet Martineau’s Autobiography, 1877, vol. 1, p. 351; 24 Nov 1837. Queen Victoria’s journals (Lord Esher’s transcripts), vol. 4, p. 29; Royal Archive, www.queenvictoriasjournals.org. Wilfred S. Dowden (ed.), The Journal of Thomas Moore, 1983, vol. 1, p. 44, 16 Sept 1818.
96	Affair with Duchess of Bedford: Lennie, ch. 3; Rachel Trethewey, Mistress of the Arts: The passionate life of Georgina, Duchess of Bedford, 2002, chs. 8, 9, 11.
96	Letters to Landseer about prices: From Frederick Goodall, Francis Chantrey (22 July 1836) and Duke of Bedford, Landseer Correspondence.
98	Landseer’s earnings: Art-Union, June 1846, p. 176, note. The four paintings, all exhibits in the 1846 Royal Academy exhibition, were Time of Peace, Time of War, The Stag at Bay and Refreshment.
99	‘My unfinished works’: Landseer to Count d’Orsay, c.1840. Houghton Library, Harvard University, MS Eng. 1272, no. 4. Quoted in Richard Ormond, The Monarch of the Glen: Landseer in the Highlands, 2005, p. 107.
99	Bell prescribing ‘blue pills’: Landseer to Count d’Orsay, 13 July 1840. Quoted in Trethewey, op. cit., p. 279 [Harvard, MS Eng 1272]. I am grateful to Dr Jonathan Reinarz for this identification.
100	‘Boys has just been here’: Jacob Bell to Landseer, 1 Sept 1842, V&A, NAL, Eng MS, 86 RR, vol. 1, no. 47.
100	Prize money: Charles Dickens to Edwin Landseer, 10 Jan 1856, in Graham Storey and Kathleen Tillotson (eds), The Letters of Charles Dickens, vol. 8 (1856–1858), 1995, p. 18. Landseer exhibited paintings including The Wounded Stag, The Blacksmith’s Shop and The Sailor Mounting Guard.
100	‘I have just heard from my friend Mr Vernon’: Capt. Leinster [or Leicester?] Smith, Dublin Castle, to Edwin Landseer, 15 December 1844, Royal Institution Archive, Bell MS, 3/3.
101	‘My room is now arranged’: Martin Blackmore to Charles Lewis, 15 March 1854, Royal Institution Archive, Bell MS, 3/31.
101	‘I have been expecting to see you’: Edwin Landseer to Charles Lewis, 5 April 1851, BL Add MS 38608, ff. 38–9. Camden Hill was the Bedfords’ estate in Kensington.
101	‘Painting is a strange business’: The passing and apocryphal remark has sometimes been reported as ‘Painting is a rum business’.
102	‘Mr Turner, the English painter’: ‘Letter from Rome’, Literary Gazette, no. 148 (20 Nov 1819), p. 747. Turner’s biographer A. J. Finberg (The Life of J. M. W. Turner, R.A., 1961, p. 261) rejected this evidence of the Prince Regent’s patronage.
102	Turner’s paintings of the royal visit to Edinburgh: George IV’s Departure from the Royal George [i.e. his arrival at Leith] (B&J 248b, Tate N02880); George IV at St Giles, Edinburgh (B&J 247, Tate N02851); George IV at the Provost’s Banquet in the Parliament House, Edinburgh (B&J 248, Tate N02858); Return of the Royal Insignia to Edinburgh Castle [known as A Vaulted Hall] (B&J 450, Tate N05539).
103	Exchange of gifts: Charles Heath appears to have presented a set of Picturesque Views in England and Wales to Louis-Philippe in 1838 or 1839; Turner Correspondence, p. 259; Gentleman’s Magazine, vol. 31 (1849), p. 100. The snuffbox is in the British Museum, 1944, 1001.1. Ian Warrell illuminated the gift further in ‘“I saw Louis Phillipe land at Portsmouth”: Fixing Turner’s presence at the arrival of the King of the French, 8 Oct 1844’, Turner Society News, 120 (Autumn 2013), pp. 8–15.
103	‘passed the pleasantest of evenings’: Redgrave, op. cit., pp. 253–4.
104	Turner’s Boiling Blubber and Hurrah! for the Whaler Erebus! another Fish! (Tate Britain) began life, as I have shown in ‘“The time must come”: Turner and royalty’, Turner Society News, vol. 118 (autumn 2102), as paintings depicting the arrival of King Louis-Philippe in Portsmouth in 1844. See also Ian Warrell, Turner and Venice, 2003, pp. 256–7; and Ian Warrell, op. cit.

5 Sculptor: Creating intelligent life

106	the ‘man at Hyde Park Corner’: John Cheere’s sculpture works was close to where the Hilton Hotel stands today.
107	‘the works of Michelangelo’: J. T. Smith, Nollekens and his Times, 1828, vol. 1, p. 5.
108	Scene from Taste: Pye, Patronage, pp. 68–72. Extracts from the play Taste by Samuel Foote (first performed in 1751): Act II, Scene i, an auction room.
108	Marble merchants: Cinzia Maria Sicca and Alison Yarrington (eds), The Lustrous Trade: Material culture and the history of sculpture in England and Italy, c.1700–c.1860, 2000, p. 14; Flaxman notebooks, BL Add MSS 39784 A and B; J. T. Smith, op. cit., vol. 1, p. 281.
108	Shakespeare, Twelfth Night, II, iv; The Winter’s Tale, V, ii.
109	‘Granites and Basaltes’: John Flaxman to William Gunn, 7 Oct 1802. Flaxman Papers, vol. 11, BL Add MS 39790, ff. 17–18.
109	Marble prices: European Magazine, 1815, vol. 67, p. 56. Quoted in Alison Yarrington, ‘Anglo-Italian Attitudes: Chantrey and Canova’, in Sicca and Yarrington, op. cit., pp. 132–55. Flaxman notebooks, BL Add MSS 39784 A and B; FD, 24 May 1806, vol. 7, p. 2770.
109	Nollekens’s economy: J. T. Smith, op. cit., vol. 2, p. 48. See also anon. review in Gentleman’s Magazine, 98, part 2, pp. 536–9. Roscoe, p. 905, quotes Trinity College payment as £3,000.
110	Nollekens’s studio and household: Smith, op. cit., vol. 1, pp. 328 and 341, vol. 2, p. 16; Roscoe, pp. 493–5, 533.
111	Hamilton, Turner, Appendix 1.
111	Flaxman’s notebooks: Flaxman Papers, vol. 5, BL 39784 A–CC.
111	Some of these names cast their shadows in Roscoe; see the entries for Bone, Bridges, Butterfield, Farrell, Gahagan and Gott, where there are some fragile connections to the Flaxman yard. See below for Hinchliffe. 1805 notebook: BL 39784 M.
112	1795–1808 notebook: Edward Croft-Murray, ‘An Account Book of John Flaxman, RA British Museum Add. MSS 39784 B.B.’, Walpole Society, vol. 28 (1940), pp. 51–94.
112	John Flaxman to ‘my very dear madam’, 17 Nov 1804, Flaxman Papers, vol. 11, BL Add MS 39790, ff. 13v–14v. The original of this letter, to Mme Hare Naylor, at Weimar, 17 Nov 1804, is in vol. 1, 87.
112	Flaxman on invited competition: John Flaxman to William Hayley, 1 Dec 1805 and 17 Feb 1811. Flaxman Papers, vol. 1, BL Add MS 39780, ff. 91–2, 102–3.
113	‘I send you a peep’: Ann Flaxman to Rev. William Gunn, 15 March 1810. Flaxman Papers, vol. 11, BL Add MS 39790, ff. 50v–51.
114	Flaxman’s production 1808–11: Admiral Millbanke, paid for 1808; Elizabeth Knight, final payment March 1809; William Bingham, final payment Sept 1808; Sir Rowland Winn for Wragby Church, Yorkshire, delivered July 1809; Christian Friedrich Schwartz, delivered Nov 1811; Marquess Cornwallis, delivered in 1813; Anne Hill, delivered 1809; William Pitt the Younger, commissioned March 1808, paid for in August 1812; Rev. Hugh Moises, commissioned April 1808, delivered December 1810; Walter Long, commissioned July 1808, delivered May 1810; Sir Joshua Reynolds, commissioned September 1808, delivered February 1813; Dean Nathan Wetherell, commissioned October 1808; Ann Bowling, commissioned February 1809, delivered March 1811; Baring family monument, commissioned June 1809, installed August 1810.
115	Flaxman’s design, pricing and billing: John Flaxman to John Hawkins, 7 and 31 March 1823, Flaxman Papers, vol. 11, BL Add MS 39790, ff. 9v–10. John Flaxman to William Gunn, Dec 1805, Flaxman Papers, vol. 11, BL Add MS 39790, f. 18v. 116 Rossi’s observation; Flaxman’s ‘work in hand’: FD, 12 Aug 1808, vol. 9, pp. 3328–9; 19 July 1809, vol. 10, pp. 3513–14, 3529.
116	Flaxman’s turnover. He was paid the following sums for monuments: £1,060 – Schwartz; £2,100 – Howe; £200 – Cornwallis; £433 – Pitt; £700 – Moises; £1,110 – Long; £144 – Reynolds; £70 – Bowling; £980 – Baring.
116	‘As piety or patriotism’: John Flaxman to Rev. William Gunn, Feb 1806. Flaxman Papers, vol. 11, BL Add MS 39790, f. 19v.
117	Chantrey’s ledgers: Royal Academy ledger, transactions 1809–39; British Library ledger, Egerton MS 1911, contains entries as in Royal Academy ledger, up to December 1823; Derby ledger, Derby Local Studies Library, MS 3535, entries from 1814; Derby Day Book, Derby Local Studies Library, MS 6644, 1809–13. For a full account of these ledgers and their contents, see Yarrington, Ledger.
118	Chantrey’s first assistants, as listed in the Derby Ledger, included William Elliott, Francis Legé, [. . .] Purdy, James Heffernan, David Dunbar, Frederick William Smith, [. . .] George. Yarrington, Ledger, p. 9.
118	On Cunningham: Duke of Devonshire’s diary, quoted by Yarrington, in Sicca and Yarrington (eds), op. cit., p. 150.
119	On Heffernan: Library of Fine Arts, 1831, vol. 1, p. 432. Gentleman’s Magazine, 1842, part 1, p. 103; Builder, 1863, p. 112; W. G. Strickland, Dictionary of Irish Artists, vol. 1, 1913, p. 470. Quoted in Roscoe, p. 597, entry for Heffernan by M. G. Sullivan.
119	On Smith: Article by Peter Cunningham in Builder, 1863, p. 112; Athenaeum, 1835, p. 75. Quoted in Roscoe, pp. 1145–6.
120	On Legé and Dunbar: Roscoe, pp. 733, 380–1.
120	Cleaning city statues: Yarrington, Ledger, pp. 33–4.
121	On Carey’s support: Sheffield Iris, Nov and Dec 1805, quoted Notes and Queries, 4th series, vol. 5, 21 May 1870, pp. 481–4. On Mrs D’Oyley’s generosity: ODNB, Francis Chantrey.
121	Chantrey’s youthful talent: FD, 23 Aug 1819, vol 15, pp. 5400–1.
121	Chantrey and Coutts: Sir Augustus Wall Callcott commonplace book, n.d., Bodleian, MS Eng. e.2425, f.362 57; Yarrington, Ledger, no. 167a, p. 192, fig. 114.
122	Chantrey’s proposed colossus: George Jones RA, Sir Francis Chantrey RA: Recollections of his life, practice and opinions, 1849, p. 180.
123	Chantrey and the Royal Society: Hamilton, London Lights, ch. 2. Chantrey’s nomination form for Fellowship of the Royal Society, Royal Society Archive, EC/1818/03.
124	Academician sculptors in 1818 were Chantrey, Flaxman, Nollekens, Rossi, Theed and the elder Richard Westmacott.
124	Royal Academy plasters: RA Council Minutes, vol. IV (1807–12), 29 May, 17 Nov 1810, ff. 215, 250–1; vol. V (1813–18), 12 Nov 1814, f. 173; 14 Dec 1815, f. 239; 27 Nov 1816, f. 322. I am grateful to Katharine Eustace for these references.
126	Joseph Banks is now in the Natural History Museum, South Kensington.
126	Bateman monument: Yarrington, Ledger, no. 132a. 845 letters cost £8.9s.0d, or 2160 pence (240 pence to the pound; 12 pence to the shilling; 20 shillings to the pound), therefore each letter is 2.4 pence, so 100 letters to the pound.
126	Chantrey’s hospitality: Jones, op. cit., p. 98.
127	Chantrey and Elwyn: Yarrington, Ledger, no. 90a.
127	Chantrey’s abandoned figures: Ibid., nos 120a, 121a, 122a, 123a.
127	Chantrey’s ideal subjects: Ibid., no. 127a.
128	‘I am now deeply engaged’: Francis Chantrey to Charles Turner, 4 June 1827; Jones, op. cit., p. 217.
128	Weights of stone samples: Henry de la Beche to Chantrey, 1 Feb 1834. Chantrey Correspondence, V&A, NAL, 86.YY.17.
129	Chantrey’s multiple subjects: Yarrington, Ledger, nos 189b, 191a, 195a, 304b.
130	Ibid., nos 146a, 196a.
130	Chantrey’s bronzes and his furnace: Ibid., no. 214a; David Brewster, Letters on Natural Magic, 1832, p. 311; Hamilton, London Lights, p. 109.
130	Chantrey’s public sculptures: Yarrington, Ledger, Pitt (London), 171; Watt, 194a; Munro, 211a; George IV (Trafalgar Square), 217; Pitt (Edinburgh), 247a; Wellington, 282a.
131	‘It is done!!!’: Francis Chantrey to Charles Turner, 10 April 1838, quoted in Yarrington, op. cit., no. 211a.
131	Wellington’s statue and subscribers: Times, 1 Feb 1837, p. 2. The sculpture was completed after Chantrey’s death by Henry Weekes. It was installed outside the Royal Exchange and inaugurated on Waterloo Day, 18 June 1844. See Philip Ward-Jackson, The Public Sculpture of the City of London, 2003, pp. 330–4.
131	Wellington’s ear: William Jerdan, Autobiography, 1852–3, vol. 3, p. 25.
132	Watt’s sculpture-copying machine: Jane Insley, ‘James Watt and the reproduction of sculpture’, Sculpture Journal, vol. 22, no. 1, pp. 37–65. Leo Bridle has made an entertaining short film showing something of the machine’s capabilities: www.leobridlefilms.co.uk/headroom/index.html. The permanent display of Watt’s workshop is in the Science Museum, London.
133	Nollekens’s estate: ODNB, Joseph Nollekens.
133	Flaxman’s estate: 15 Feb 1827. Flaxman Papers, vol. 12, BL Add MS 39791, f. 27. Extract from minutes of Council, University College, London, 17 Nov 1847, ibid., f. 59. Note from James Christie, 27 Oct 1828, ibid., f. 48.
133	Rossi’s non-existent estate and reputation: Art-Union, vol. 1, 1839, p. 22, quoted in ODNB, Charles Rossi. FD, 24 May 1806, vol. 7, p. 2770.
134	Baily’s bankruptcies: Times, 11 Nov 1831, 3 March 1838. Literary Gazette, 27 July 1833, no. 862, p. 477, quoted in ODNB, Edward Hodges Baily.
135	On Woolner: Bodleian, MS. Don. e. 80, letters from Thomas Woolner to F. G. Stephens, 31 Jan 1866, ff. 46–7; 3 Feb 1866, ff. 48–9; 30 June 1867, ff. 66–7; 2 Aug 1869, f. 80. The bust of Gladstone, with its elaborate decorative marble plinth, is in the Ashmolean Museum.

6 Dealer: ‘I have picked up a few little things’

137	On Smith: Charles Sebag-Montefiore, A Dynasty of Dealers: John Smith and his successors, 1801–1924, 2013. See also James Stourton and Charles Sebag-Montefiore, The British as Art Collectors: From the Tudors to the present, 2012; and Bruce Tattersall, ‘Art market’, in Grove Dictionary of Art, 1996, vol. 2, pp. 557–61. 138 Turner as dealer: Lord Egremont to Turner, 2 Dec 1828, Turner Correspondence, 146; Turner to C. L. Eastlake, 16 Feb 1829, ibid., 147. 138 ‘In troubled waters’: Quoted in Stourton and Sebag-Montefiore, op. cit., p. 8. 139 ‘Og of Bassan’, etc.: Hamilton, London Lights, p. 168.
139	‘Why, now, there’s your “Susannah”’: From Taste by Samuel Foote (first performed 1751), Act I, Scene i, A painting room. Quoted in Pye, Patronage, pp. 68–72.
139	‘Esto praeclara’: Jason M. Kelly, The Society of Dilettanti, 2009, p. 12.
140	Cost of living in Rome: Joseph Wright to Nancy Wright, 4 May 1775; Elizabeth E. Barker, ‘Documents relating to Joseph Wright “of Derby” (1739–97)’, Walpole Society, vol. 71 (2009), p. 85, letter 20.
140	‘a fine head of the Salvator Mundi’: Wilfred S. Dowden (ed.), The Journal of Thomas Moore, 1983, vol. 1, 19 and 27 March 1819, pp. 151 and 155.
140	Napoleon’s loot: Andrew McClellan, Inventing the Louvre, 1994, p. 132; Margaret M. Miles, Art as Plunder, 2008, pp. 319 ff; Katharine Eustace, ‘“Questa Scabrosa Missione”: Canova in Paris and London in 1815’, in Katharine Eustace (ed.), Canova: Ideal Heads, 1997, p. 16; D. Vivant-Denon, Discours sur les monuments d’antiquité arrivés d’Italie, Paris, an. XII [1804], p. 3. Quoted in Andrew McClellan, loc. cit.
141	Research on frames and frame-making is co-ordinated by the National Portrait Gallery, London; www.npg.org.uk/research/programmes/the-art-of-the-picture-frame.php.
142	Champernowne: Hugh Brigstocke, ‘James Irvine: A Scottish artist in Italy – picture buying in Italy for William Buchanan and Arthur Champernowne’, Walpole Society, vol. 74 (2012), pp. 245–479; FD, 9 Oct 1809, vol. X, p. 3576. Champernowne’s Titian may have hung in his London house rather than at Dartington. Cecil Gould, The Sixteenth-Century Italian Schools, National Gallery, 1975, pp. 276–7. For Muselli provenance, see Waagen, 1853–7, vol. 2, pp. 76–7.
143	‘That I purchase for others’: James Irvine to George Cumberland, 13 Aug 1803. Quoted in Brigstocke, op. cit., p. 254.
143	‘I have been pretty well able’: William Buchanan to James Irvine, 23 July 1803, quoted ibid., p. 255.
143	‘Scarcely was a country overrun’: Pye, Patronage, p. 279.
144	‘Many pictures have been made to acquire’: Pye, Patronage, pp. 242–3.
145	On Truchsess: ‘I was again enlightened’: William Blake to William Hayley, 23 Oct 1804, David V. Erdman, The Complete Poetry and Prose of William Blake, 1982, pp. 756–7; Benjamin Silliman, A Journal of Travels in England, Holland and Scotland, 2nd edn, 1812, vol. 1, p. 240; quoted in Morton D. Paley, ‘The Truchsessian Gallery Revisited’, Studies in Romanticism, vol. 16 (spring 1977), pp. 165–77; FD, 21 Aug 1803, vol. 4, p. 2111.
146	Martin’s sewage scheme: Hamilton, London Lights, ch. 14.
146	On Whitefoord: Lord Leicester to Caleb Whitefoord, 17 Sept 1804, Whitefoord Papers, vol. 3, f. 118; George Sandilands to Caleb Whitefoord, 15 May 1805, Whitefoord Papers, vol. 3, BL Add MS 36594, f. 144; George Wilson to Caleb Whitefoord, 18 July 1803, Whitefoord Papers, vol. 3, f. 94; J. T. Smith, Nollekens and his Times, vol. 1, 1828, p. 271; Noel Desenfans to Caleb Whitefoord, 1802, Whitefoord Papers, vol 3, f. 81. See also W. A. S. Hewins (ed.), The Whitefoord Papers, 1898, pp. 252–7, 260–1, and passim.
147	‘Give me leave to introduce’: George Sandilands to Caleb Whitefoord, 15 May 1805. Whitefoord Papers, vol. 3, BL Add MS 36594, f. 144.
147	‘About 2 years ago’: George Wilson to Caleb Whitefoord, 18 July 1803, loc. cit., f. 94.
148	‘the breakfast of an Alderman’: A pointed reference to the print publisher Alderman John Boydell. Valentine Green to Caleb Whitefoord, 7 Sept 1801, Whitefoord Papers, vol. 3, f. 35.
149	George Colebrooke, ODNB.
149	‘it may happen’: George Colebrooke to Caleb Whitefoord, 10 Feb 1805, Whitefoord Papers, vol. 3, f. 138.
150	‘Whether we can in the present day’: Turner to J. Robinson, 28 June 1822, Turner Correspondence, 97.
151	On Boydell: Nicholas Penny (ed.), Reynolds, 1986, p. 326; William T. Whitley, Thomas Gainsborough, 1915, pp. 269–70; Joseph Wright to John Boydell, 26 July 1789, Barker, op. cit., pp. 131–2; John Boydell to Joseph Wright, 3 Aug 1789, ibid., note 7.
152	Boydell’s costs: Pye, Patronage, p. 253, note.
152	‘By the inclosed from Mr Copley’: Henry Hope to Caleb Whitefoord, 21 June 1806, Whitefoord Papers, vol. 3, f. 223.
153	Alexander Davison, ODNB.
153	‘I wish to dispose of the Brazen Serpent’: Andrew Wilson to Caleb Whitefoord, 10 May 1807, Whitefoord Papers, vol. 3, f. 255; Hewins, op. cit., pp. 266–7.
153	‘The pleasure you expressed’: Henry Tresham to William Beckford, 27 Oct 1781, Bodleian, MS Beckford c.36, ff. 20–1.
153	‘Altieri Claudes’: Landscape with the Father of Psyche Sacrificing at the Temple of Apollo and The Landing of Aeneas at Pallanteum. Both now in the collection of the National Trust, Anglesey Abbey, Cambridge.
154	‘I waited but for a sight’: Henry Tresham to William Beckford, 14 April 1799; Bodleian, MS Beckford c.36, ff. 24–5.
154	‘Many of the pictures at Fonthill’: William Beckford to Mr Walker, 1807; Bodleian, MS Beckford c.36, f. 72.
155	‘I shall not come away empty-handed’: William Clark to William Beckford, 25 June 1824, Beckford Papers, Bodleian, MS Beckford c.28, ff. 80–1.
155	On Beckford and Britton: John Britton to William Beckford, 19 Aug 1822, Beckford Papers, Bodleian, MS Beckford c.27, ff. 9–10; John Britton to William Beckford, 27 Nov 1823, c.27, ff. 22–3; Mary Ann Britton to William Beckford, 5 Sept 1822, c.27, ff. 14–15; John Britton to William Beckford, 26 Aug 1834, c.27, ff. 30–1; John Britton to William Beckford, 16 April 1830, c.27, ff. 24–5; 21 Oct 1817, Boyd Alexander (trans. and ed.), Life at Fonthill Abbey, 1807–1822 . . . From the correspondence of William Beckford, 1957, p. 228.
157	On Britton and Soane: T. E. Jones, A Descriptive Account of the Literary Works of John Britton FSA (from 1800 to 1849), Being a Second Part of his Auto-Biography, 1849, p. 101.
157	On Britton: Charles Knight, Passages of a Working Life, 1864, vol. 1, p. 31; Pugin to Edward James Willson, 11 May 1834, Margaret Belcher (ed.), The Collected Letters of A. W. N. Pugin, 2001, vol. 1, p. 36; Elias Magoon to Phelps, 20 Nov 1860, quoted in Francesca Consagra, ‘The “Ever Growing Elm”: The formation of Elias Lyman Magoon’s collection of British drawings, 1854–1860’, essay in Brian Lukacher, Landscapes of Retrospection: The Magoon Collection of British drawings and prints, 1739–1860, 1999, p. 98; Calder Loth and Julius Trousdale Sadler Jnr, The Only Proper Style: Gothic architecture in America, 1975, p. 56. See also Francesca Consagra, op. cit.
158	A full account of Ackermann’s model, in the Lady Lever Art Gallery, Port Sunlight, Merseyside [LL4885], is in Lucy Wood, The Upholstered Furniture in the Lady Lever Art Gallery, vol. 2, 2008, no. 103, pp. 989–1007. Ackermann’s drawing of the proposed coach is in the National Gallery of Scotland [D3326]. See also Simon Jervis, ‘Rudolph Ackermann’, in Celina Fox (ed.), London: World city, 1800–1840, 1992, pp. 97–109. The coach itself is in the collections of the National Museum of Ireland, displayed at Newbridge House, Dublin.
158	Nelson’s catafalque: Hamilton, London Lights, p. 28.
159	On Ackermann: John Ford, Ackermann, 1783–1983: The business of art, 1983, p. 17 and passim; ‘Rudolf Ackermann’, in Notes and Queries, 4th series, 4 (1869), pp. 109–12, 129–31, by W. P. [William Papworth]; Times, 1 July 1809; Rudolf Ackermann to Caleb Whitefoord, n.d., Whitefoord Papers, vol. 4, BL Add MS 36595, f. 3; ODNB. For details of Ackermann’s account of Coutts Bank, see www.cradledincaricature.com, website managed by James Baker.
160	‘He retained a strongly marked German pronunciation’: Times, 1 July 1809.
161	Faraday inspired by Ackermann: George Riebau to an unknown journal, Oct or Nov 1813. Frank A. J. L. James (ed.), The Correspondence of Michael Faraday, vol. 1 (1811–31), 1991, letter 30.
162	Alan Bennett, A Life Like Other People’s, 2009, p. 173.
162	Rudolf and Rudolph: to distinguish father from son here, the elder here retains the German spelling Rudolf, while the son is Rudolph.
163	Ackermanns after 1832: Times, 9 May 1843, 19 June 1851.
164	On Griffith: http://wc.rootsweb.ancestry.com/cgi-bin/igm.cgi?op=GET&db=towcester&id=I15266. Auctioneers: Griffith, Roberdau and Hopkins, 92 Blackman St, Southwark (see Times, 19 July 1792, p. 4).
164	Griffith’s activities: J. L. Roget, A History of the ‘Old Water-Colour’ Society, 1891, vol. 1, p. 436; Turner to Heath, ?Oct 1827, Turner Correspondence, no. 128.
165	‘The short time I had’: Clarkson Stanfield to Thomas Griffith, 4 Jan 1831; Griffith Papers, 3.
165	‘I entirely approve’: Edward Coleridge to Thomas Griffith, 5 Oct 1835 (1836 in pencil); Griffith Papers, 2.
165	E. T. Cook and A. Wedderburn, Complete Works of John Ruskin, 1903–12, vol. 13, p. 478.
166	‘You lay me under great obligations’: Benjamin G. Windus to Thomas Griffith, 1844; Griffith Papers, 10. The watercolour, W827, was destroyed by fire in 1962.
166	‘We have a very large Saloon’: The Countess of Morley to Thomas Griffith, Dec 1837; Griffith Papers, 3.
166	Griffith’s testimonial: David Roberts to Thomas Griffith, [1840]; Griffith Papers, 31; Thomas Uwins to Thomas Griffith, 4 Nov 1840; Griffith Papers, 7; Athenaeum, 1840, p. 893.
167	‘I have yielded’: Thomas Griffith to Anon [JMWT], Norwood, 13 June ?1829; Griffith Papers, 29. See Turner Correspondence, Appendix 2, p. 237, no. 18, Straits of Dover.
167	Jeremy Howard (ed.), Colnaghi: The history, 2010.
168	Turner and the Colnaghis: ‘Colnaghi’s Account’ sketchbook, TB CCCXLII, p. 7a. The text is difficult to interpret, but it seems to show that Martin is offering one-third and one-quarter discounts at particular rates, with ‘6 months settlement by Bill at 4 months. M Colnaghi 28 May 1830’, while Dominic offers ‘A Discount of one third – should be 7 and 6 [7s 6d?] but that I leave to Mr Turner’s discretion. D. Colnaghi & Co.’.
169	‘Let your . . . Hay Cart go to Paris’: John Fisher to John Constable, 18 Jan 1824; Constable’s Correspondence, vol. 6, p. 151.
169	‘I hear there is quite a bustle’: Ibid., 16 June 1824, p. 154.
169	‘I find Lord Dover’: John Constable to C. R. Leslie, 17 April 1832; Constable’s Correspondence, vol. 3, p. 67.
170	‘We never read of the actions’: Quoted in Gertrude Prescott, ‘Gleams of Glory: Forging learned society portrait collections’, in James Hamilton (ed.), Fields of Influence: Conjunctions of artists and scientists, 1815–1860, 2000, pp. 129–62.
170	‘a most execrable likeness’ of Peel: The Standard, London, 27 Nov 1834, issue 2,355.
170	On Gambart: Jeremy Maas, Gambart, Prince of the Victorian Art World, 1975; Count d’Orsay to Edwin Landseer, n.d. [?1847], Landseer Correspondence, 97; Edwin Landseer to Jacob Bell, undated, Landseer–Bell Papers, 4/23.

7 Colourman: ‘The dangerous symptoms he labours under’

173	Cennino Cennini, A Treatise on Painting, trans. Mrs Merrifield, 1844, ch. 40, p. 23; ch. 47, p. 27; ch. 62, p. 35.
175	R. Campbell, The London Tradesman, being a Compendious View of All Trades, Professions, Arts . . . now practised in the Cities of London and Westminster, 1747, ch. 19, ‘Of the Colour-Man’, pp. 105–7.
176	Joseph Emerton’s flyer, 1744: BM, P&D, Heal, 89.55.
176	On Grandi: FD, 17 April 1806, vol. 7, p. 2721; Transactions of the Society of Arts, 1806, vol. 24, pp. 86–8.
177	The Provis affair is fully documented by John Gage in Colour and Culture, 1993, p. 213; and John Gage, Colour and Meaning, 1999, pp. 153–61. It is also reported blow by blow by Farington, FD, mainly Dec 1796–Jan 1797. ‘Colouring’ and ‘very young lady: John Opie, Lectures on Painting, 1809, pp. 138 and 145.
178	Martin Archer Shee, Elements of Art: A poem (1809), canto 5, p. 288. Shee often has two lines of the poem on a page, followed by twenty-five lines of footnotes to explain them. Footnotes had by 1809 become a pedantic literary fashion, ripe for parody. Little changes. 178 Turner’s Macon: B&J, no. 47.
179	On Owen: Sir Augustus Wall Callcott’s journal for part of July 1805; Bodleian, MS Eng. d. 2263. 179 On the ‘British School’: Hamilton, Turner, pp. 84–5.
179	‘Lake’ here comes from the same root as ‘lacquer’ – that is, a pigment mixed with an inert resinous binding medium. See also Robert Chenciner, Madder Red: A history of luxury and trade, 2000, pp. 156–73.
180	On Field: Transactions of the Society of Arts, loc. cit., pp. 128–33; John Gage, George Field and his Circle: From Romanticism to the Pre-Raphaelite Brotherhood (exhibition catalogue), Fitzwilliam Museum, Cambridge, 1989; Henry Crabbe Robinson to Thomas Robinson, 19 June 1846, Dr Williams’s Library, London.
181	Field on Grandi: Quoted in Leslie Carlyle, The Artist’s Assistant: Oil painting instruction manuals and handbooks in Britain, 1800–1900, 2001, p. 39, note 7; www.npg.org.uk/research/programmes/directory-of-suppliers/g.php.
181	Farington on Grandi: FD, 27 Dec 1796, vol. 3, p. 731; 13 May 1806, vol. 7, p. 2758.
182	‘Grandi is in trouble’: H. Grandi to James Northcote, n.d. [Nov 1806], Northcote Papers, 97. Punctuation added for clarity. www.oldbaileyonline.org/browse.jsp?id=t18061203-32&div=t18061203-32&terms=grandi#highlight.
182	Humphry Davy, ‘Some Experiments and Observations on the Colours used in Painting by the Ancients’, from Phil. Trans., 1815, in John Davy (ed.), The Collected Works of Sir Humphry Davy, Bart, vol. 6, pp. 131–59; Maria Callcott, Essays towards the History of Painting, 1836, p. 251.
183	Prussian Blue: William Brande, A Manual of Chemistry, 1830, vol. 2, p. 25.
184	On yellow used by Turner: Hamilton, Turner, ch. 10 James Ward’s Journal, 27 April 1818, Nygren, p. 37; British Press, 30 April 1826, see Turner Correspondence, 115. See also Brian Livesley, ‘The Ageing and Ills of Turner: A physician’s view’, Turner Society News, 120 (autumn 2013), pp. 16–20.
184	‘Mr Turner is in all his force’: Athenaeum, 12 May 1838, p. 347.
184	On poisonous colours: Victoria Finlay, Colour, 2002, pp. 124–5; FD, 18 April 1819, vol. 15, p. 5353; Paints, Grinding of: Dr Ure’s Dictionary of Arts, Manufactures and Mines, 1878, p. 471; entry for William Owen, ODNB.
185	Remarks on Turner’s colour: ‘M. I. H.’, ‘The Use of Indigo. Turner’s Drawings’, reprinted from The Builder, 24 Oct 1857, p. 609, Turner Studies, vol. 5, no. 1 (summer 1985), pp. 25–6; Richard Redgrave, A Memoir, 1891, p. 343; ‘Janus Weathercock’s Dialogue on the Exhibition at Somerset House’, London Magazine, vol. 1 (1820), p. 702.
186	‘White, when it shines with unstain’d lustre clear,/ May bear an object back or bring it near./ Aided by black, it to the front aspires;/ That aid withdrawn, it distantly retires;/ But black unmix’d of darkest midnight hue,/ Still calls each object nearer to the view.’ Charles-Alphonse du Fresnoy, The Art of Painting, trans. Mason.
186	An entertaining fictional account of Wainewright’s life is Andrew Motion, Wainewright the Poisoner, 2000. See also ODNB, Thomas Wainewright.
186	Frank Howard, Colour as a Means of Art (1838), pp. ii, 43, 51, 53.
187	Mary Lloyd, Sunny Memories, privately printed, 1880, pp. 31–8. Republished as ‘A Memoir of J. M. W. Turner RA by “M. L.”’, Turner Studies, vol. 4, no. 1, pp. 22–3. Quoted in Hamilton, Turner, p. 299.
188	Medical recipes: Hamilton, Turner, Appendix 2; Joyce H. Townsend, ‘Turner’s Writings on Chemistry and Artists’ Materials’, Turner Society News, no. 62 (Dec 1992), pp. 6–10. Banks and Reynolds: quoted Gage, George Field and his Circle, 1989, p. 8. I have been unable to establish a source for this quotation.
190	The Diary of Albert Goodwin RWS, 1883–1927, privately printed, 1934, pp. 389, 477.
190	Leslie Carlyle and Anna Southall, ‘“No short mechanic route to fame”: The implications of certain artists’ materials for the durability of British painting, 1770–1840’, in Robin Hamlyn, Robert Vernon’s Gift: British art for the nation, 1847, 1993.
190	George Field, Chromatography; or, A Treatise on Colours and Pigments and their Powers in Painting, &c, 1835, pp. 51, 77–128, 161.
191	William Muckley, A Handbook for Painters and Art Students, 2nd edn, 1882, p. 47.
191	William Holman Hunt, ‘The Present System of Obtaining Materials in Use by Artist Painters, as Compared with that of the Old Masters’, Journal of the Society of Arts, vol. 28, April 1880, pp. 485–99.
193	‘Our Articles are all Town Made’: John Sell Cotman to John Hornby Maw, Maw Papers, f. 5.
194	Palmer’s and Blake’s methods: Samuel Palmer to Henry Acland, 8 Aug 1855, 29 Oct 1866; Bodleian, MS Acland, d.71, 49, 51–4.
194	Winsor and Newton catalogue, 1863, p. 14; http://viewer.zmags.com/showmag.php?mid=wtfrgd&preview=1&_x=1#/page0/.
195	‘Your business, Mr Winsor’: Reminiscence of W. E. Killick, quoted in Peter Bower, Turner’s Later Papers . . . 1820–1851, 1999, pp. 12–13.
197	Sally Woodcock with Judith Churchman, Index of Account Holders in the Roberson Archive, 1820–1939, Hamilton Kerr Institute, 1997.
197	Among them are the Dollar Institution, Alloa; the School of Practical Art, Wolverhampton, 1828–70; Agnew and Zanetti, art dealers of Manchester; the Royal Italian Opera and Theatre Royal, Covent Garden; the Proprietors of the Diorama in Regent’s Park; Sir Jamsetjee Jeejeeboy’s School of Art, Bombay, 1863–74; the Great Western Railway, managed from Isambard Kingdom Brunel’s office address, 18 Duke St, 1836–9, the period of the construction of the railway line from London to Twyford.
197	‘In the evening [John] Opie dropt in’: Sir Augustus Wall Callcott’s journal for part of July 1805; Bodleian, MS Eng. d. 2263.
197	‘What a fine broad fleshy colour’: Haydon Diary, vol. 1, p. 45.
198	George Field to Thomas Lawrence, 19 June 1820; RA Archive, Lawrence Letters, LAW/3/159.
198	Hunt on Field’s secret: Holman Hunt, op. cit., p. 491.
198	Hamerton on Palmer: Quoted in Gage, op. cit., p. 70.
198	Learned societies: Hamilton, London Lights, ch. 2. The Society of Antiquaries left Somerset House for Burlington House in 1874. The Geological Society resided in Somerset House 1828–74, and the Royal Astronomical Society 1834– 74, when both moved to Burlington House.
199	George Adams, Micrographia illustrata; or the Microscope Explained . . . [4th edn, 1771], title page.

8 Engraver: ‘Brother scrapers’

201	‘Bending double’: C. W. Radclyffe, Catalogue of the Exhibition . . . of Engravings by Birmingham Engravers, 1877, pp. 5–6. Quoted in Eric Shanes, Turner’s England, 1990, p. 15.
201	Quoted in Elizabeth Harvey-Lee, Etchings by Raymond T. Cowern, n.d. [2000s].
202	On Woollett: M. T. S. Raimbach (ed.), Memoirs and Recollections of the Late Abraham Raimbach, Esq., Engraver, 1843, p. 15, footnote.
202	‘They were all bent low’: William Heath Robinson, My Line of Life, 1938, p. 92.
202	‘brother scrapers’: John Pye (J. L. Roget, ed.), Notes and Memoranda Respecting the Liber Studiorum of J. M. W. Turner . . ., 1879, pp. 64–5.
203	On engravers: James Ward to George Ward, 4 Feb 1850; Nygren, p. 22, no. 228.
204	Buckler’s prices: John Pretyman to John Buckler, ‘Letters and papers which were much prized by John Buckler FSA’, Bodleian, MS Eng. Lett a 1, 28; Lord Clarendon to John Buckler, 13 May 1815, ibid., 65.
204	Godard’s remarks: Alençon Library, France, Godard Collection, 11469, trans. James Hamilton; quoted in James Hamilton, Wood Engraving and the Woodcut in Britain, c.1880–1980, 1994, p. 28.
205	Buckler and Cobbett: Thomas Powys to John Buckler, 9 Nov 1804, ‘Letters and papers which were much prized by John Buckler FSA’, Bodleian, MS Eng. Lett a 1, f. 150; William Cobbett to Thomas Robinson, n.d. [early 1830s], Robinson Papers, University of Reading Library. Quoted in Hamilton, op. cit., p. 29.
206	Faraday on Hullmandel: Michael Faraday to Charles Hullmandel, 12 April 1827; Frank A. J. L. James (ed.), The Correspondence of Michael Faraday, 1811–1831, vol. 1, 1991, no. 321.
206	Britton’s costs: ODNB.
206	Britton engraves Flaxman: Ann Flaxman to Rev. William Gunn, 15 March 1810; Flaxman Papers, vol. 11, BL Add MSS 39790, ff. 50v–51.
207	Bank-note quantities: Times, 8 Feb 1819.
207	Forgeries: 1812 – 17,885 forged notes; 1817 – 31,180. Times, 23 May 1818; FD, 29 Jan 1819, vol. 15, p. 5328.
208	Diamond type: Times, 8 Feb 1819.
208	Perkins’s method: Hamilton, London Lights, pp. 184–5. Catherine Eagleton and Artemis Manolopoulou (eds), British Museum Paper money research catalogue, www.britishmuseum.org/research/publications/online_research_catalogues/paper_money/paper_money_of_england__wales.aspx.
208	On electrotypes: Raimbach, op. cit., p. 143.
209	Pye engraves Turner: Hamilton, London Lights, p. 360, note. J. M. W. Turner to John Pye, in John Gage, ‘Further Correspondence of J. M. W. Turner’, Turner Studies, vol. 6, no. 1 (1986), p. 6 (no. 248a); John Pye to J. M. W. Turner, 19 Aug 1835, Turner Correspondence, 194; Elhanan Bicknell to John Pye, 23 June 1845, NAL, V&A, Pye MSS.
210	‘By the graver’s art’: Pye, Patronage, pp. 211, 244.
211	Orders of the Delegates of Oxford University Press, 1795–1810. Press accounts at end of volume, unpaginated. Oxford University Press Archive.
211	22 April 1806, ibid., p. 203. See also Helen Mary Petter, The Oxford Almanacks, 1974, pp. 15–17, 81–6.
211	The price rose to 3 shillings in 1805, and 3s.6d in 1807. Almanack folio, Ashmolean Museum, and Delegates’ minutes, op. cit., p. 239.
211	Turner’s Liber: Of these seventy-one plates were published; a further nineteen were not. Gillian Forrester, Turner’s ‘Drawing Book’, The Liber Studiorum, 1996.
212	‘Respecting advertising’: Proof in Royal Academy, Allen Collection 15c, quoted in Forrester, op. cit., pp. 13, 175.
212	John Pye (J. L. Roget, ed.), op. cit., p. 65.
212	Lewis’s fee: J. M. W. Turner to F. C. Lewis, 14 Dec 1807, Turner Correspondence, 21.
213	‘I believe that it is only to be gotten’: Maria Graham to John Murray, n.d. [1818/19: Graham mentions Turner’s Coast Scenery as having just been published by John Murray]. John Murray Archive, National Library of Scotland.
213	‘neatly packed’: Quoted in Forrester, op. cit., p. 22.
213	‘A pack of geese!’: W. G. Rawlinson, Turner’s Liber Studiorum, 1878, quoted in Forrester, op. cit., p. 27.
214	On Turner and Miller: Turner to William Miller, 21 Oct 1836, Turner Correspondence, 203; Turner to William Miller, 22 Oct 1841, Turner Correspondence, 246; Graves Papers, BL Add MS 46140, 31 March 1836, f. 54.
215	Insurance: Turner to Edward Swinburne, 2 Jan 1837; quoted in Luke Herrmann, Turner Prints: The engraved work of J. M. W. Turner, 1990, p. 226.
215	John Landseer, Lectures on the Art of Engraving, 1807, 3rd Lecture.
215	Herrmann, op. cit., Appendices I and II. Herrmann’s totals are 862, with a further ninety-one Liber Studiorum plates. Jan Piggott, Turner’s Vignettes, 1993.
215	Landseer’s prints: Lennie, p. 162.
216	Dealings with Gambart: Charles G. Lewis to Jacob Bell, 17 Aug 1848, MS RI, 3/8; Charles G. Lewis to Ernest Gambart, 27 Sept 1848, MS RI, 3/9; Ernest Gambart to Jacob Bell, 27 Sept 1848, MS RI, 7/4; Charles G. Lewis to Jacob Bell, 13 Oct 1848, MS RI, 3/10; Edwin Landseer to Jacob Bell, 6 Nov 1849, MS RI, 2/4.
217	Landseer’s prints: Times, 16 Oct 1850. The subjects are: Pointer, Retriever and Woodcock and Spaniel and Pheasant. Proofs are in the BM, 1853,0709.497–9.
217	Dealings with Blackmore: Charles G. Lewis to Jacob Bell, 12 Aug 1854, MS RI, 3/34; Charles G. Lewis to Edwin Landseer, 31 Aug 1854, MS RI, 3/37; Charles G. Lewis to Jacob Bell, 28 Sept 1854, MS RI, 3/39; Charles G. Lewis to Jacob Bell, 4 Oct 1854, MS RI, 3/40.
219	‘Mr Cooper is too tame’: Robert Cooper [?] to Abraham Cooper (no relation), 24 Dec 1828, Letters and Papers connected with Sir Walter Scott; letters to Abraham Cooper RA, BL, Egerton 2075, f. 45.
219	Contracts with Graves: Graves Papers, f. 56; 12 May 1830, f. 25.
220	Sales volumes: Pye, Patronage, p. 210, footnote.
220	Payments from Watt to Landseer: 100 gns, 30 April 1836; 100 gns, 24 June 1837; Graves Papers, BL Add 46140, ff. 55 and 74.
220	The Drover’s Departure: 1 Feb 1838, Graves Papers, f. 89.
221	On copyright charges: Raimbach, op. cit., p. 139.
221	Watts’s dealings: James H. Watt to Hodgson and Graves, 4 Oct 1839 and 7 April 1840, Graves Papers, ff. 133, 145.
222	Dealings with Heath: John Murray to Charles Heath, 24 Dec 1818; John Murray Archive, NLS, MS 41908.
222	S. W. Reynolds to John Constable, early 1826. Constable’s Correspondence, vol. 4, p. 267.
222	‘truly . . . a gigantic man’: Hamilton, London Lights, p. 189.
223	Bromley’s contract: 30 March 1837, Graves Papers, f. 63.
223	Printing plate destruction: 27 Oct 1855. Ian Smith (ed.), The Apprenticeship of a Mountaineer: Edward Whymper’s London diary, 1855–1859, London Record Society, vol. 43, 2008, p. 32; ‘Destruction of Works of Art’, Times, 29 Oct 1855; Times, 22 Nov 1855;
224	On John Martin: Hamilton, London Lights, ch. 14; Martin Myrone (ed.), John Martin Apocalypse, 2011; John Martin to James Northcote, 2 May 1817, Northcote Papers, 79, V&A, NAL; Thomas Balston, John Martin, 1789–1854: His life and works, 1947; Martin’s printshop: Balston, op. cit., p. 104; original source: Leopold Martin, ‘Reminiscences’, Newcastle Weekly Chronicle, Supplement, 9 March 1889, p. 1; quoted in Michael J. Campbell, ‘John Martin as a Commercial Printmaker’, in Myrone, op. cit., pp. 23–33; John Martin’s account book, Lilly Library, University of Indiana.
227	Martin’s sales: 1826 – 213 prints sold; 1827 – 196; 1829 – 39.
228	Exhibition report: Hamilton, London Lights, pp. 308–9; Nancy B. Keeler, ‘Illustrating the “Reports of the Grand Juries of the Great Exhibition of 1851”: Talbot, Henneman, and their failed commission’, History of Photography, vol. 6, no. 3 (1982), pp. 257–70.
229	Elizabeth A. Pergam, The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, connoisseurs and the public, 2011, pp. 119–25, and passim. This gives a full and clear discussion of the successes and failures of the photographic project. See also Appendix V, ‘Return Showing Catalogues, Handbooks &c . . .’, pp. 251–2; Jeremy Howard (ed.), Colnaghi: The history, 2010, p. 11.
229	Photographic Society exhibition: peib.dmu.ac.uk/itemexhibition.php?exbtnid=1035&orderBy=exhibid&exhibitionTitle=1858%2C+London%2C+Photographic+Society.
229	Athenaeum, 20 Feb 1858.
229	Francis H. Fawkes to Thomas Griffith, 23 Nov 1864, Griffith Papers, 26.

9 Publisher: ‘Six hundred and eighty-five ways to dress eggs’

231	On Murray: Humphrey Carpenter, The Seven Lives of John Murray, 2008, chapters 5, 6 and 7.
231	Walter Scott, Marmion, Canto V, ii, 359–60.
232	Scott on Murray: Scott Letters, vol. 2, 103; quoted in Carpenter, op. cit., p. 55.
232	Gifford proof-reading: William Gifford to John Murray, 26 Feb and May 1809. John Murray Archive, NLS, MS 42244 (420A)/9.
233	‘Your Good Will’: John Murray to William Miller, 12 Aug 1813. John Murray Archive, NLS, MS 41908, Letter book, March 1803–11 Sept 1823.
233	Murray’s problems: John Murray & Co. to Dr Strachan, 2 Aug 1811; ibid.
233	Childe Harold: Carpenter, op. cit., p. 76.
234	Byron on machine-wrecking: House of Lords, 27 Feb 1812; Hansard, http://hansard.millbanksystems.com/lords/1812/feb/27/frame-work-bill#S1V0021P0_18120227_HOL_13.
234	John Murray to Bishop of Llandaff, 31 Dec 1839. John Murray Archive, NLS, MS 41911, Letter book, March 1839–March 1846.
236	‘“Come, come”, said Tom’s father’: ‘A Joke Versified’, The Poetical Works of Thomas Moore, 1860, p. 110.
236	Byron on Moore: Carpenter, op. cit., p. 111. See also Andrew Nicholson (ed.), The Letters of John Murray to Lord Byron, 2007, p. 240, note 2.
236	Moore on Brummel: 6 Dec 1818; Wilfred S. Dowden (ed.), The Journal of Thomas Moore, 1983, vol. 1, p. 98.
236	Moore on his fans: 19 Aug 1818; ibid., p. 27.
237	Thomas Moore [named as Thomas Brown the Younger] (ed.), The Fudge Family in Paris, 1818, Letter VIII, Mr Bob Fudge to Richard — Esq., pp. 82–4.
237	‘Received a letter’: 13 Dec 1818; Dowden, op. cit., p. 101.
238	Ballooning: See Hamilton, London Lights, ch. 11; and Richard Holmes, Age of Wonder, 2008, ch. 3.
239	Maria Graham, Journal of a Residence in India, 1813, Preface, pp. v, xi–xii.
239	Maria Graham in London: Lady Callcott’s Journal, p. 8, 6 Feb 1813; 14 Feb 1813. Extracts made by William Hutchins Callcott, n.d. [watermark 1846], Bodleian, MS Eng. d.2274.
243	On ‘Conversation’ Sharp: William and Robert Chambers, Memoirs of Francis Horner, 1849, p. 136; Charles Dickens, Bleak House, 1853, ch. 3.
243	Maria Graham, Three Months Passed in the Mountains East of Rome during the Year 1819, Longman and Constable, 2nd edn, 1821; Maria Graham, Memoirs of the Life of Poussin, 1820, Longman (London) and Constable (Edinburgh); Maria Graham, ‘An Account of some Effects of the Late Earthquake in Chili [sic] . . .’, Transactions of the Geological Society, 2nd series, vol. 1 (1824), pp. 413–15.
244	‘Yes I have been ill’: Maria Graham to John Murray, 6 March 1821; John Murray Archive, NLS, Acc. 12604/1186.
246	On London booksellers: Quoted in James Laver, Hatchards of Piccadilly, 1797– 1947, 1947, p. 11; William Beloe, The Sexagenarian; or the Recollections of Literary Life, 1817, quoted in Laver, op. cit., p. 12.
246	James Lackington, Memoirs of the Forty-Five First Years of the Life of James Lackington, 2nd edn, 1793, pp. viii, xxiii–xxiv.
248	Murray and Hakewill: John Murray Archive, NLS, MS 42576; 21 July 1818, John Murray Archive, Letter book, March 1803–11 Sept 1823, MS 41908. See also Cecilia Powell, ‘Topography, Imagination and Travel: Turner’s relationship with James Hakewill’, Art History, vol. 5, no. 4 (Dec 1982), pp. 408–25; and Luke Herrmann, Turner Prints: The engraved work of J. M. W. Turner, 1990, pp. 95–6.
249	Murray’s troubles with Heath: John Murray to Charles Heath, 24 Dec 1818, ibid.
251	On Tilt and Turner: Times, 6 Dec 1831; 12 Dec 1831; 16 Oct 1833; Herrmann, op. cit., pp. 201–2, 269; Atlas, 10 Nov 1833. Nick Powell, ‘Knight for a Day’, Turner Society News, vol. 111 (March 2009), pp. 10–14.
253	On Tilt and Lamb: Times, 12 and 13 Aug 1836.
253	Tilt the millionaire: Notes and Queries, 3rd series, vol. 1, 18 Jan 1862, p. 53.

10 Curator: ‘The awful care’

254	‘the powerful sea-god Neptune’: Waagen, 1853–7, vol. 1, p. 1.
255	Emilia Venn, Diary of Tour to France and Belgium, 1815, University of Birmingham, Cadbury Research Library, CMS/ACC81 F7–F9.
255	On Waagen: Dictionary of Art Historians website: www.dictionaryofarthistorians.org/waageng.htm.
255	‘Now, for the first time’: Waagen, 1853–7, vol. 1, pp. 3–4.
256	‘The celebrated . . . national dish’: Waagen, 1853–7, vol. 2, p. 288.
256	‘A succession of savoury . . . dishes’: Waagen, 1853–7, vol. 2, p. 226.
257	‘the hundred eyes of Argus’: Waagen, 1853–7, vol. 1, p. 37.
257	Peel’s ‘engaging manners’: Waagen, 1853–7, vol. 1, p. 397.
257	Rubens’s Chapeau de Paille: J. M. W. Turner, ‘Old London Bridge’ sketchbook, TB CCV 44.
257	Introduction to The Holford Collection, Dorchester House, vol. 1, 1927, pp. xvi–xvii.
258	Waagen on Holford: Waagen, 1853–7, vol. 2, p. 194.
258	Waagen, 1853–7, vol. 1, p. 397.
258	Lady Eastlake, Journals and Correspondence, 1895, vol. 2, pp. 32–3. Quoted in Susannah Avery-Quash and Julie Sheldon, Art for the Nation: The Eastlakes and the Victorian art world, 2011, pp. 135 and 137.
258	For the birth and growth of the V&A, see Malcolm Baker and Brenda Richardson (eds), A Grand Design: The art of the Victoria and Albert Museum, 1997, and Elizabeth Bonython and Anthony Burton, The Great Exhibitor: The life and work of Henry Cole, 2003.
258	Anon. [Peter Patmore], ‘The Late Fonthill Gallery’, New Monthly Magazine; collected edn, Anon. [Peter Patmore], British Galleries of Art, 1824, pp. 119–41.
259	‘unfit to be trusted’: William Paulet Carey, Some Memoirs of the Patronage and Progress of the Fine Arts in England and Ireland . . . with Anecdotes of Lord de Tabley, of Other Patrons, and of Eminent Artists, and Occasional Critical References to British Works of Art, London, 1826, pp. 27, 30, 31.
259	On Carey: Also known as Junius Hibernicus, ODNB; Northcote Papers, 53; Notes and Queries, 4th series, vol. 5 (21 May 1870), pp. 481–4.
261	Carey on Turner: Carey, op. cit., pp. 147–8.
262	London exhibitions: J. M. W. Turner to James Holworthy, 21 April 1827; Turner Correspondence, 122.
263	British Institution mission: British Institution minutes, V&A, NAL, RC.V.11, MSL/1941/677.
263	‘moneyed prosperity’: Joseph Banks to William Smith MP, 14 May 1805. Neil Chambers (ed.), The Letters of Sir Joseph Banks: A selection, 1768–1820, 2001, letter 101, pp. 268–9.
264	On the British Institution: Times, 14 April 1806; Thomas Smith, Recollections of the Rise and Progress of the British Institution, 1805–1859, 1860, pp. 139 ff.
264	Porter’s costume: British Institution minutes, 8 and 15 March 1806, V&A, NAL, loc. cit.
265	John Young, A Catalogue of Pictures by British Artists in the Possession of Sir John Fleming Leicester, Bart, 1825.
266	On the British Institution: Times, 19 July 1806; 4 March 1807; 27 May and 2 June 1817; 3 June 1824.
268	On Seguier: ODNB; John Burnet, The Progress of a Painter in the Nineteenth Century, 1854, pp. 72–3; Times, 10 April 1826.
269	On the Parmigianino: FD, 9 Dec 1795, vol. 2, p. 433. See also Cecil Gould, The Sixteenth-Century Italian Schools, National Gallery, 1975, pp. 194–5; Times, 25 April 1828.
269	On Holwell Carr: ODNB; Judy Egerton, National Gallery Catalogues: The British paintings, 1998, pp. 399–405; Catalogue Raisonné of the Pictures now Exhibiting in Pall Mall, 1816.
269	www.historyofparliamentonline.org/volume/1820-1832/member/watson-taylorgeorge-1771-1841.
270	Imaginary Picture Gallery: Richard Walker, Regency Portraits, 1985, vol. 1, pp. 615–18, and vol. 2, plates 1591–7. The finished painting is in a private collection; studies for the four main groups of figures are in the NPG.
270	Letters from ‘Alfred’: Times, 16 April, 12 June 1828.
271	On Lawrence: Alaric Watts, A Narrative of his Life, 1884, vol. 1, p. 222; Times, 1 Oct 1830.
271	On the British Institution: John Constable to C. R. Leslie, 31 Jan 1830, Constable’s Correspondence, vol. 3, p. 25; Times, 15 June 1848.
272	‘After the kindness’: Draft letter John Northcote to Sir William Pole, Jan 1823. Northcote Papers, 31.
272	Cleaning Turners: John Constable to C. R. Leslie, 14 Jan 1832, Constable’s Correspondence, vol. 3, p. 58.
273	Moving painting: B. R. Haydon, Autobiography and Journal, vol. 1, p. 289; Haydon Diary, vol. 2, p. 265.
273	Waterloo Allegory: James Ward’s Journal, April 1820; Nygren, p. 65.
273	Rolling painting: William Etty to his brother, 1847. Letter quoted in Alexander Gilchrist, Life of William Etty, 1855, vol. 2, pp. 223–4.
273	Crowds at exhibition: Literary Gazette, 22 May 1819.
274	Carey on Turner: Carey, op. cit., p. 147.
274	Prout’s complaint: Samuel Prout to John Hornby Maw, n.d.; Maw Papers, ff. 40, 42, 44.
275	‘That execrable Seguier’: William Beckford, Memoirs of William Beckford of Fonthill, vol. 2, 1859, p. 293.
275	Prince Albert and Waagen: Avery-Quash and Sheldon, op. cit., p. 135.
276	On Wornum: ODNB; Ralph Wornum’s letters to his family, 29 April, 20 Sept 1834, National Gallery Archive 2/1/9, pp. 5–6, 39, 43–4.
278	Ralph Wornum’s diary: 1855–77; 8 Sept and 12 Nov 1855; 1 Feb, 1 March, 25 Sept, Oct, 12 Dec 1856, National Gallery Archive, NGA 2/3/2/13.
279	On dismantling Turner’s studio: Thomas Griffith to Francis Hawkesworth Fawkes, 19 Dec 1854; Griffith Papers, 18.
279	‘The first Turners. . . to be seen’: These were preceded by Sun Rising through Vapour (1807) and Dido Building Carthage (1815), hung at Trafalgar Square between two Claudes in accordance with Turner’s will in December 1852. For picture cleaning practices at Trafalgar Square see Report from the Select Committee on the National Gallery, 1853, pp. iii–xiv, and paras 168, 172.
280	Wornum Diary, 8 Dec 1854, 3 Nov 1859.
280	William Holman Hunt, ‘The Present System of Obtaining Materials in Use by Artist Painters, as Compared with that of the Old Masters’, Journal of the Society of Arts, April 1880, pp. 485–99.
281	Wornum Diary, 22 Jan 1858, 21 Oct 1859 and 21 Jan 1860; Charles Eastlake to Michael Faraday, 17 June 1859, Frank A. J. L. James (ed.), The Correspondence of Michael Faraday, 1811–1831, vol. 5, no. 3602. For Faraday’s report, see Parliamentary Papers, 1859, 2nd Session (106), XV.
281	Francis Fowke, A Description of the Buildings at South Kensington, Erected to Receive the Sheepshanks Collection of Pictures, 1866, pp. 16–17, 20.
281	On Goldsworthy Gurney: Hamilton, London Lights, p. 266.
282	Giles Waterfield, Palaces of Art: Art galleries in Britain, 1790–1990, 1991, pp. 49–65.
282	Wornum Diary, 1 Feb 1860.
282	‘The Callcott Pisa’: The Entrance to Pisa from Leghorn, 1833, Vernon Bequest, Tate Britain.
282	Queen’s visit: Wornum Diary, 17 Feb 1860.
283	Turners return to Trafalgar Square: see also Alan Crookham, ‘The Turner Bequest at the National Gallery’, in Ian Warrell (ed.), Turner Inspired: In the Light of Claude, 2012, pp. 52–56.
283	Care of pictures: Wornum Diary, 12 May 1860; 22 Nov 1862. Three Ward cattle subjects were shown at the 1857 Manchester exhibition, including St Donat’s Castle (now V&A). ‘Turner getting loose’: 15 Dec 1865; pictures at Kensington cracking: 19 Aug 1863.
283	Picture-cleaning schemes: Wornum Diary, 5 April, 3 Oct 1864; Turners cleaned by pea-meal: Apollo and Daphne, Italy – Childe Harold’s Pilgrimage, Bay of Baiae, Caligula’s Bridge, 5 July 1867; Pettenkofer’s method: 7 Oct 1864; Hahn’s method: 1 and 3 Aug 1866; praise from Punch, 24 Nov 1866.
285	George J. Kirby to James Bourlet and Sons, 4 Aug 1936. Bourlet album of letters, Bourlet & Co., London.

11 Spectator: ‘So useful it is to have money, heigh-ho’

286	Lorenz Eitner, Géricault’s Raft of the Medusa, 1972, pp. 61 ff.; Géricault to Dedreux-Dorcy, 12 Feb 1821, quoted in Eitner, pp. 64–5.
287	C. R. Cockerell’s diary, 11 Dec 1821. Cockerell family papers, Drawings and Archives Collection, British Architectural Library, RIBA, CoC/9.
287	Karl Friedrich Schinkel, The English Journey: Journal of a visit to France and Britain in 1826 (ed. David Bindman and Gottfried Riemann), 1993, p. 67; diary entries, 1, 2, 6 June 1826, pp. 79, 85, 97; itinerary, p. 212.
288	Isaac Schofield to Messrs J. Schofield, 21 Aug 1840, BL Add MS 88892.
291	Francis Bacon, ‘On Seditions and Troubles’, Essays, XV, 1625.
292	Diary of Emilia Venn, 30 April 1822, University of Birmingham, Cadbury Research Library, CMS/ACC81 F9; Venn MSS, www.mundus.ac.uk/cats/44/1206.htm; portrait of Rev. John Venn, NPG, D7531. Engraving by Edward Scriven, 1813, after a drawing by Joseph Slater.
294	Tom Taylor (ed.), The Life of Benjamin Robert Haydon . . . from his Autobiography and Journals, 1853, vol. 1, p. 377.
295	Richard Brinsley Sheridan, The School for Scandal, Act IV, Scene i.
295	Faraday’s portrait collection: Royal Institution Archive. See also: Gertrude Prescott, ‘Gleams of Glory: Forging learned society portrait collections’, in James Hamilton (ed.), Fields of Influence: Conjunctions of artists and scientists, 1815–1860, 2000, pp. 129–62. Letter refs: Faraday to Edward Magrath, c. March 1830, Frank A. J. L. James (ed.), The Correspondence of Michael Faraday 1811– 1831, vol. 1, 1991, no. 437; Thomas Phillips to Faraday, 23 June 1841, James, vol. 3, no. 1353; Faraday to Angela Burdett Coutts, 29 Dec 1846, James, vol. 3, no. 1942; Jane Davy to Faraday, 23 Aug 1847, James, vol. 3, no. 2014; Faraday to L.-A.-J. Quetelet, 19 April 1851, James, vol. 4, no. 2412.
296	On Brockedon: Hamilton, Faraday, pp. 210–12; H. H. White to William Brockedon, 25 Jan 1832, NPG Archive. Of the British nationals included in the collection, only seven were not subsequently included in the 1903 Oxford Dictionary of National Biography; this falls to three in the 2004 ODNB. Charles Dickens to W. Wills, assistant editor of Household Words, 17 July 1851.
298	W. P. [? William Papworth or William H. Pyne] to Caleb Whitefoord, n.d. Whitefoord Papers, vol. 4, ff. 199–200, BL Add MS 36595.
299	Cyrus Redding, ‘The Late J. M. W. Turner’, Fraser’s Magazine, Feb 1852, pp. 150–6.
299	Story of Gyges: Herodotus, The Histories, book 1; Penguin edn, trans. Aubrey de Selincourt, 1966, pp. 16–17.
299	Elizabeth Etty to Joseph Gillott, 20 March 1846, University of Birmingham Cadbury Research Library, XMS 94/1/1/3. ‘Mr Bullock’ is Edwin Bullock, Birmingham industrialist and collector.
300	Times, 23 May 1835.
300	William Etty’s autobiography, in Art-Journal, 1849. Quoted in William Gaunt and F. Gordon Roe, Etty and the Nude, 1943, p. 22. See also ODNB, William Etty. Letter: William Etty to Joseph Gillott, 22 April 1847, Etty-Gillott Correspondence, XMS 94/1/1/11.
300	Lynda Nead, Victorian Babylon, 2000, p. 193; Hansard, 3rd series, vol. 146 (25 June 1857), col. 331.
301	Wornum Diary, 18 August 1858; National Gallery Archive.
301	Ian Warrell, ‘Exploring the “dark side”: Ruskin and the problem of Turner’s erotica’, with checklist of erotic sketches in the Turner Bequest, British Art Journal, vol. 4, no. 1 (spring 2003), pp. 5–46; Ian Warrell, Turner’s Secret Sketches, 2012.
301	London brothels: Renton Nicholson (ed.), The Town: A journal of original essays, characteristic of the manners, social, domestic, and superficial, of London and the Londoners, 10 June 1837, no. 2, p. 13; ‘Sketches of Courtezans’, ibid., 10 June 1837, no. 2, p. 13; Pisanus Fraxi, Index Librorum Prohibitorum: being Notes Bio-Biblio-Icono-graphical and Critical on Curious and Uncommon Books, London, privately printed, 1877, pp. xl, xlii.
304	Thornbury, vol. 2, p. 168.
305	Benjamin Disraeli, Lothair, 1870. Quoted in Ronald Pearsall, Worm in the Bud, 1969, p. 109.
305	On panoramas: Times, 12 April 1797, 24 Feb 1808, 31 March 1814, 2 Dec 1823, 23 May 1859, 13 Aug 1860, 2 March 1863, 23 June 1897. T. L. Donaldson to Robert Finch, 12 April 1824; Finch Papers, vol. 5, ff. 148–9, Bodleian. Henry Mayhew and George Cruikshank, 1851: or, the Adventures of Mr and Mrs Sandboys and Family, who Came up to London to ‘Enjoy Themselves’, and to See the Great Exhibition, 1851, pp. 131–3. John Ruskin, Praeterita, 1859, para. 137, p. 168.
306	Greg Smith, ‘The Eidometropolis: Girtin’s Panorama of London’, Thomas Girtin: The art of watercolour, 2002, ch. 9, pp. 188–205. Girtin’s drawings for the Eidometropolis are in the British Museum and the Guildhall Library, London.
309	On public lectures: Michael Faraday, first lecture to the City Philosophical Society, 17 Jan 1816. Chemistry Lectures 1816–19, Institution of Engineering and Technology (IET) Archive, SCMS 2/1/3; Friedrich von Raumer, England in 1835, 1836, p. 60; Friedrich von Raumer, 30 April 1836, ‘Extracts from letters written in 1836’, England in 1841 . . ., 1842, p. 126; J. M. Thomas, Michael Faraday and the Royal Institution, 1991, p. 217; Literary Gazette, 13 June 1829. See also Hamilton, Faraday, ch. 14; Times, 5 Feb 1816, 1 Feb 1822; Iwan Rhys Morus, Frankenstein’s Children: Exhibition, electricity and experiment in early-nineteenth-century London, 1998, p. 80.
311	On Exeter ’Change: Times, 1 May 1818 (advertisement), 2 March 1826; Leslie A. Marchand (ed.), Byron’s Letters and Journals, 1973–4, vol. 3, p. 204, 14 Nov 1813.
313	On Bullock: William Bullock, A Companion to Mr Bullock’s London Museum and Pantherion . . . now open for Public Inspection in the Egyptian Temple just erected for the reception, in Piccadilly London, 1812, pp. iii–vi; ‘Bullock’s MS Methods of preserving objects of natural history’, Wellcome Institute, MS 1417; Hamilton, London Lights, pp. 170–3; Times, 10 June 1817; see also Susan Jenkins, ‘Arthur Wellesley, First Duke of Wellington, Apsley House, and Canova’s Napoleon as Mars the Peacemaker’, Sculpture Journal, 2010, vol. 19.1, p. 115; Times, 20 May 1837.
315	On the Royal Panopticon: ODNB, Edward Marmaduke Clarke; Illustrated Handbook of the Royal Panopticon of Science and Art, 1854, pp. 6, 9–10. Quoted in Survey of London, vols 33 and 34, 1966, pp. 488–503, Leicester Square: East Side.
316	On the end of the British Institution: Art-Journal, 187, vol. 5, p. 264.
317	‘There are at least six of our students’: Evidences, 1882: King’s College, London; City of London Livery Companies Commission Report, vol. 1 (1884), pp. 203–10, para. 1781.
317	R. H. Parsons, The Early Days of the Power Station Industry, 1939, p. 21. Quoted ‘Bourdon Street and Grosvenor Hill Area’, Survey of London, vol. 40, The Grosvenor Estate in Mayfair, part 2, 1980, pp. 57–63.

12 A Gigantic Birdcage

318	On the Crystal Palace: Charles Richard Sanders (general editor), The Collected Letters of Thomas and Jane Welsh Carlyle, 1998, vol. 26, Thomas Carlyle to John A. Carlyle, 12 Jan 1851, p. 131; Thomas Carlyle to Arthur Helps, 26 March 1851, p. 50; Thomas Carlyle to Jean Carlyle Aitken, 3 April 1851, p. 54; Builder, 22 June 1850, p. 296; Henry Mayhew and George Cruikshank, 1851: or, the Adventures of Mr and Mrs Sandboys and Family, who Came up to London to ‘Enjoy Themselves’, and to See the Great Exhibition, 1851, pp. 131–3 and 137; John Tallis & Co., The Great Exhibition of the World’s Industry, Held in London in 1851: Described and illustrated by beautiful steel engravings, from daguerreotypes by Beard, Mayall, Etc., etc., etc., London, 1852; Elizabeth Bonython and Anthony Burton, The Great Exhibitor: The life and work of Henry Cole, 2003, p. 133; Louise Purbrick (ed.), The Great Exhibition of 1851: New interdisciplinary essays, 2001; Hamilton, London Lights, pp. 143–6.
322	Tensions before the exhibition’s opening: Times, 9 and 30 April 1851.
323	Diary of Isabella Mary Hervey, 5 May 1851, pp. 160–2; Sat 17 May, p. 167, Thurs 16 June, pp. 176 ff. Cadbury Research Library, University of Birmingham, MSS 7/iii/6 Ms 557/vol 1.
323	Jacob van Lennep, ‘Gedachten bij de tentoonstelling te Londen’, Mengelpoezy, Poetische Werken, II, 1872, p. 473. Dutch commission for the exhibition: ‘Tentoonstelling te Londen’, Nederlandse Staatscourant, 24 July 1850. H. W. Lintsen (ed.), ‘Geschiedenis van de techniek in Nederland. De wording van een moderne samenleving 1800–1890’. Deel VI, Techniek en samenleving, 1995. I am most grateful to Froukje Pitstra for these references and for the translation from the Dutch.
324	‘Light and its applications’, Illustrated London News, 17 May 1851, p. 424.
325	Closure of the Great Exhibition: Hermione Hobhouse, The Crystal Palace and the Great Exhibition – Art, Science and Productive Industry: A history of the Royal Commission for the Exhibition of 1851, 2002, p. 71; The Crystal Palace and its Contents; being an Illustrated Cyclopedia . . ., W. M. Clark, 1852, p. 62. Total number of visitors to the Great Exhibition: 6,201,856; total receipts at door: £469,115.13s.
325	On the Manchester exhibition: Elizabeth A. Pergam, The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, connoisseurs and the public, 2011 (see Appendix 7); Tristram Hunt and Victoria Whitfield, Art Treasures in Manchester: 150 years on, 2007.
325	Other brewers who presented art galleries to their home cities include John Newton Mappin (Sheffield, 1887), Alexander Laing (Newcastle, 1900) and Cecil Higgins (Bedford, 1949).