Note: Page numbers in italics indicate illustrations.
Absolut Vodka advertisements 20,
404–
406
aesthetics: commodities and 386–
389;
eighteenth-century 288,
289–
292,
298,
309;
Kantian 10,
16,
353;
mass culture and 10,
13–
14,
16;
modes 9;
subjectivity and 299–
301,
313,
332;
theorization through cultural studies 7–
8;
Victorian new media and 3,
5.
See also minor aesthetics;
specific authors, categories,
keywords,
and media
Afghanistan, war in (2007) 138–
139
Africanized exoticism 374,
375
Afro-Britons: caricatures of 23,
39;
carte-de-visite portraits of 218,
265–
268;
racism against 70
Ainsworth, W. H.: Jack Sheppard 59n
74,
77n
99
Alpers, Svetlana 6,
95–
96
alterity: British Jews and 197–
198,
200–
201;
Celts and 200;
Christianity and 144,
172–
173;
ethnographic photographs and 215;
exoticism and 376–
377;
imperialism and 339–
340;
modernity and 346;
nationalism and 211;
picturesque and 339–
340;
stereotyping and 23;
Victorian visual culture and 12–
13n
32
Altick, Richard D. 33n
22,
41n
32,
66n
87,
100n
37,
148–
149,
157n
41,
158,
222n
14,
276n
136,
297n
26,
319,
323n
72
American Civil War: British coverage of 264;
photography 116–
117
Anderson, Benedict 95,
167
art posters 20,
347–
406;
aesthetic sensibility of 347;
by Beardsley 349,
370–
371,
373,
379–
380,
393,
395;
beginnings of 361–
364;
as collectible art objects 369,
379;
controversy over 364,
367;
critics of 351,
370;
as decadent symbol 379–
385;
insincerity and 367;
lack of clear message in 377–
378;
London Aquarium exhibition 398;
mysteriousness of 378–
379,
391–
393,
396;
as new kind of advertisement 347,
359;
paintings converted to 347,
359;
participation in consumerism 352–
353;
as philosophical symbol 381–
382;
Pop art and 402–
406;
for promotion of luxury commodities 396–
397;
surrealism in 389–
393,
396;
as visual emblem of modernity 350–
351
avant-garde: commodity culture and 20,
349,
350,
403–
404;
culture war over 376–
378;
decadence and 347;
illustrated books’ influence on 208;
kitsch and 10,
353. See also
specific movements
Balzac, Honoré 86n
4,
119;
Comédie Humaine 55
Basquiat, Jean-Michel 342
Batchen, Geoffrey 215–
216,
228,
244,
261,
273n
132,
297–
299,
300,
323n
72,
343,
346n
108
Baudelaire, Charles 348;
decadent style of 384;
modernity defined by 112,
116;
“The Painter of Modern Life,” 4–
5,
15,
91–
92,
113n
57,
270,
305–
306,
367;
Warhol and 403,
404
Beardsley, Aubrey 20,
370–
379,
404;
“The Art of the Hoarding,” 380–
381;
art posters by 349,
367,
370,
371,
373–
80,
393,
395;
illustrations by 349;
parodies of 374–
376 prospectus for The Yellow Book 393,
395;
theatricality of works 397;
as Yellow Book editor 348,
370
Beaumarchais, Pierre-Augustin: The Marriage of Figaro 66
Bellini, Vincenzo: La Sonnambula 253,
255
Bell’s Life in London and Sporting Chronicle 28–
29,
29,
38–
41,
39,
40,
45–
46,
52,
56,
74,
76,
77,
79
Benjamin, Walter 7,
14,
326n
74;
The Arcades Project 12,
93,
152,
270,
276,
352,
363–
364;
aura phenomenon and 147;
description of Victorian parlor 1–
2;
on the flâneur 58;
on the phantasmagoria 92–
93;
“Short History of Photography,” 228,
269–
270
Benwell, Joseph Austin 125
Bernays, Edward Louis 391
Bewick, Thomas: History of British Birds 150n
20
Bishop, Elizabeth: “Over 2,000 Illustrations and a Complete Concordance” 208
Boucicault, Dion: The Colleen Bawn 222,
256;
The Octoroon 221,
264
bourgeois individualism 33,
81
Boydell, John: “Shakespeare Gallery,” 152–
153
Braddon, M. E. 277;
Aurora Floyd 237–
238;
Lady Audley’s Secret 19,
218,
221,
222,
236–
237,
244n
62,
264,
265,
273;
The Octoroon; or, the Lily of Louisiana 264;
Rupert Godwin 265
British and Foreign Bible Society 154
British empire: attitudes toward Palestine 171–
172;
British painters in India 329;
decadent exoticism and 376–
377;
Egypt and 339–
340;
imperialist projects and possessions 172–
173,
180–
181,
204,
212–
213;
landscape art and 331;
modernity and 3;
production of new visual media driven by 8;
slavery abolished in 26.
See also Crimean War
Britton, John: The Beauties of England and Wales 330
Burke, Edmund: A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful 299–
300
Buszek, Maria Elena 237n
50
capitalism: amorality of 384–
385;
“business art business” and 403–
406;
culture industry and 10;
decadence and 347,
351–
353;
individuality and 353,
384;
late 209–
210;
marketing celebrity 215,
245;
rise of middle class and 112,
228;
standardization and 222;
temporality and 257
caricatures: as aesthetic strategy 22–
23;
of clerks 49–
50,
50,
81;
of cockneys 24,
41–
48,
49,
56,
58–
59,
81;
common themes of 60;
cost of 10,
21;
of everymen 25,
28–
29,
37;
French 35–
36;
of gents 49,
56–
58,
57,
81;
Golden Age of 22,
25n
12;
of idlers 49,
56,
58;
of Jews 23,
39,
40,
197–
98;
late eighteenth-century 22;
as minor aesthetics 81–
82;
personhood and 21–
26;
of Pickwick characters 74;
Pickwick spin-offs 73–
79;
political 26–
33;
as politicized version of character 21;
popularity of 22;
in Punch 33–
38;
violence and 17,
23,
24–
25,
26,
35,
38,
45,
50,
62,
65,
71–
72;
visual typing in 23–
24,
39,
48–
60;
of working-class laborers 59–
60
Carlyle, Thomas 4,
59,
383;
On Heroes, Hero-Worship, and the Heroic in History 70;
Past and Present 354
carte-de-visite portraits, 226,
227,
235,
238,
255,
255,
256,
263;
of actresses and opera singers 250–
258,
260;
of Afro-Britons 218,
265–
268;
afterlives of 273,
278;
“Beauties of England” series 246,
257,
268,
271;
celebrity and 10,
19,
214,
215,
218,
228–
236,
244,
245,
272;
conventional and extraordinary combined in 222;
cost of 226;
exceptionalism and 243–
244;
fashion and 271;
innovations of 217;
mass marketing of 19,
217,
226;
photographic time and 269–
273;
pornography and 233–
234;
of Queen Victoria 260–
263;
self-portraiture 228;
sensation phenomenon and 8,
16,
19,
214–
216;
social class and 214–
215,
218,
223–
224,
227–
228,
230–
232,
245;
theatricality of 272–
273;
viewed in photography shop windows 230–
231;
women as patrons and sitters 238,
260,
271–
272,
273
Cassell’s Illustrated Family Bible 146–
147,
155–
164,
187;
Assyrian-influenced illustrations 165–
168,
167,
167,
169,
194–
195;
collage-like layout of 159–
164,
163,
173;
Doré illustrations in 175n
77;
engravings for 158;
frontispiece 159–
161,
161;
heterogeneity of 159;
Jews portrayed in 198;
parts wrappers for 155,
157;
popularity of 158–
59;
reviews of 165
cathedrals 19,
152,
178,
288,
314,
318–
322,
324,
325,
327–
328,
335,
382–
383
celebrity: in 1860s 19,
218,
222,
245;
actresses and 250–
258;
ascribed vs. achieved 258,
263;
carte-de-visite portraits and 10,
19,
214,
215,
218,
228–
236,
244,
272,
275–
276;
dialectics of 217;
“Girl of the Period,” 232–
239;
monarchs and 258,
260–
264;
race and 264–
268;
today’s 281
Chapman, Jake and Dinos 278–
279
character 3,
17,
21–
83;
caricature as politicized version of 21;
deep 221,
236;
“great man” theory of 17,
21,
24–
25,
33,
70,
81;
psychological 21,
23n
8;
surface 22,
23,
55,
56,
71,
76–
77;
traditional notions of 9;
type 23,
24–
25,
28,
30,
39,
47,
48–
60,
61,
66,
68–
72,
74,
76,
79,
81;
visual qualities of 23,
41–
42
Charivari, Le (French caricature magazine) 35–
36
children’s books, illustrated 9,
208
“cinema of attractions,” 408
Clasewitz, Carl von: On War 141n
107
clerks, caricatures of 49,
50,
81
cliché (printing process) 24
cockneys 17;
caricatures of 24,
41–
48,
49,
56,
81;
Dickens character sketches of 46–
47;
Dickens’s Pickwick Papers and 61–
66,
74;
in early films 414;
lack of female counterpart to 48;
longevity of character type 68,
75–
77;
Sam Weller character 60;
social identity of 44,
45,
65n
82;
social transformation in Britain and 58–
59
Coleridge, Samuel Taylor 298
commodity culture 11;
Aesthetic movement and 348,
377–
378;
carte-de-visite portraits and 228,
245,
273;
Collins’s The Woman in White and 219,
241;
decadence and 348,
350,
386–
89;
embodiment in 16;
fashion and 255,
256,
272,
273;
“Girl of the Period” and 236,
238;
hucksterism and 355;
illustrated Bibles in 145,
150,
153–
154,
155,
157,
210;
luxury goods 396–
397;
obsolescence and 257;
picturesque and 309–
314;
pleasure and 12;
religious illustration and 152–
153;
sensation and 219;
stereoscopes and 284,
289;
Warhol and 20,
403–
405
Crimean War: Battle of Inkerman 103,
104,
139;
British government’s mishandling of 85,
86,
87,
113;
causes of 87;
“Charge of the Light Brigade,” 87,
101–
102;
class issues 113,
122,
127–
128,
136;
conventional types in reporting on 118–
128;
epic forms and 94–
95;
multiethnic nature of 109–
10;
nurses and nursing during 124–
127;
published landscapes and maps for 96–
98,
97,
98,
99,
100–
102,
101;
Queen Victoria and 126,
126–
127;
siege of Sebastopol 96–
97,
97,
98;
soldier amputees 119–
20,
121,
122–
124,
123;
trench life 113;
“Valley of Death,” 18,
87,
100–
102,
101;
visual journalism during 13n
32,
17–
18,
85,
91,
137,
139–
140;
war death imagery 115–
117;
war reporters and special artists during 17,
87,
91–
92,
102–
111,
130n
86,
139–
140
Cruikshank, George 21,
24,
27–
28,
59;
book illustrations of 77n
99;
“Commentary on the ‘New Police Act’ (No. 2)”,
31,
32,
33;
illustrations for Bell’s Life 46;
illustrations for Life in London 41–
48,
64–
65;
illustrations for Oliver Twist 197,
207;
illustrations for Uncle Tom’s Cabin 158;
“Nobody Made Fun of,” 31,
31;
Phrenological Illustrations 27–
28,
27;
piracy of his works 46,
79;
Scraps and Sketches 77
Cruikshank, Robert 24;
Life in London illustrations 41–
48,
42;
Pickwick Gazette illustrations 74
cultural studies 4,
5–
6,
7. See also
specific topics
Dante Alighieri: The Divine Comedy 4n
8,
174
decadence 3;
art posters and 20,
347–
406;
commodities and 386–
389;
disease and 374–
375,
381;
double-voiced discourse of 351–
352,
375–
376,
380,
382,
389;
etymology of 351;
feminist critiques of 379;
French beginnings of 8;
Frenchness and 367;
immorality and 348,
367,
380,
385;
insincerity and 367;
investments in high culture 349–
350;
irony and 387n
86,
388,
392,
402–
406;
as literary phenomenon 347–
348;
material excess and 9,
387;
philosophy of 347,
381–
385;
theatricality and 396–
402;
visual cultures of 347–
353,
374–
375
Defoe, Daniel: Robinson Crusoe 113n
58
democratization: art posters and 369;
caricature and 50;
carte-de-visite portraits and 19,
218,
226,
231–
232,
240,
244;
Queen Victoria and 261;
Reform Act of 1832 and 21–
22;
sensation’s dialectic and 281;
war reporting and 86n
7
depth illusion 341,
345;
amplification of 292;
poetry and 312–
313;
repoussoir device and 290–
291;
Ruskin’s ornaments 325;
stereoscopes and 1,
284,
285,
291,
292,
300,
301,
314,
338,
341,
345;
waterfalls and 332–
333
Dickens, Charles 133;
Bleak House 186–
187,
257,
304;
caricature and 25n
12,
60–
61;
character sketches by 24–
25;
enfranchisement of 44;
Household Words 354;
innovations in serialization 60;
Millais painting attacked by 187;
Oliver Twist 12n
32,
48,
59,
60,
77n
99,
79,
109,
197;
Phiz’s covers for serials by 151;
The Pickwick Papers 68–
72;
politics of 61–
62n
79;
as reporter 71;
Sketches by Boz 46–
47,
52,
58,
60,
61,
79.
See also Pickwick Papers, The
Doré, Gustave 143;
Bible illustrations by 16,
18,
147,
152,
155,
172n
65,
173–
185,
181,
183,
194–
195,
204,
208,
210–
211,
212;
cinema influenced by 146,
181–
182;
English and American popularity of 8,
173,
174,
210–
211;
the grotesque and 178–
179;
illustrations for Cassell firm 159n
44,
174;
liberal epic and 179–
181;
London: A Pilgrimage 178n
82;
Martin and 174–
177,
179;
sensuality and violence in illustrations of 16,
174,
178–
181
Durkheim, Emile: Elementary Forms of the Religious Life 145
Eliot, George 199;
British realism and 88;
Daniel Deronda 204–
206,
265;
involvement in periodical culture 133;
The Mill on the Floss 137;
“The Natural History of German Life,” 134–
135;
visual models for literary realism 89. See also
Adam Bede
Emin, Tracey 278;
“Everyone I Have Ever Slept With 1963–1995,” 281
Enchanted Drawing, The (film) 412
Eskilson, Stephen J. 361n
40
Every Body’s Album & Caricature Magazine 30
“Everybody” (stock caricature character) 30
everyday life: anachronistic Bible illustrations and 145,
171,
189,
192;
media culture in 3;
realist novels and 132,
133,
135;
reality effect and 18,
85,
89,
94,
112–
118,
119,
120,
138;
religion in 145;
satires and caricatures of 36n
25,
67,
72;
sensation novels and 221–
222;
social class and 224,
281
female display: 1860s celebrities 222,
232–
239;
actresses and 250–
252;
carte-de-visite portraits and 19,
214–
215,
218,
232,
263–
264,
277;
Collins’s The Woman in White and 241;
“fast” women and 237–
238,
265;
gender role nonconformity and 243,
244,
252–
253,
281;
“Girl of the Period” and 234–
236;
slavery and 219,
221.
See also women
Fielding, Henry 23n
6;
Joseph Andrews 55n
64
Figaro, Le (French newspaper) 68
Flaubert, Gustave: Un Coeur Simple 96;
Madame Bovary 88
Fog of War, The (Morris film) 140
Fox Talbot, Henry 217,
303;
The Pencil of Nature 297
Frank Leslie’s Illustrated Newspaper 117–
118
Franklin, John: “The Lost Sheep,” 189,
191
French Impressionists 286
Frith, Francis 290n
15,
311n
50;
Bible illustrated with photographs by 207;
photographic series of English locations 340–
341;
photographs by 317,
317,
358;
stereoviews of Egypt 335–
340,
337,
Frith, W. P.: on “artistic advertising,” 370n
52;
A Private View at the Royal Academy, 1881 280–
281
Gainsborough, Thomas: “Artist with a Claude Glass,” 295
“Galleries of Comicalities,” 10,
17,
22,
24,
28–
29,
29,
38–
41,
40,
46,
52,
74,
76,
77,
79
Galpin, Thomas Dixon 159n
44
Gardner’s Photographic Sketch Book of the War 117
Gastineau, Henry: “Tintern Abbey” engraving 291,
292
Gérôme, Jean-Léon: The Snake Charmer 338
Gilpin, William: Observations on the River Wye … 296,
329;
Three Essays 290,
297,
311
Godeau, Abigail Solomon 299n
32
Gordon, General Charles George 181
Gothic cathedrals and abbeys: ruins 13,
288,
306,
308,
314,
318–
322,
339;
stereoviews of 19,
288,
306–
309,
313,
314–
318
Grandville, Jean-Jacques 36,
352
Grigsby, Darcy Grimaldo 336n
90
grotesque: as caricature attribute 17,
21,
24,
26,
33,
82–
83;
carnivalesque elements 29–
31;
in Doré illustrations 178–
179;
in political caricatures 26–
33;
political instability and 81;
working-class laborers and 59–
60
Guthrie, Thomas: “The Parables Read in the Light of the Present Day,” 189
haptic realism: 3-D films and, 346;
landscape painting and 301;
photography and 297–
299;
sensation and 216,
219,
264;
stereoscopy and 304;
Wordsworth’s “Tintern Abbey” and 313
Hardy, Dudley: “Gaiety Girl” advertisement 364,
389,
396
Harper’s Weekly (illustrated newspaper) 117–
118
Hassall, John: “Little Red Riding Hood” pantomime poster 399,
401,
402
Heidegger, Martin 3–
4,
144
high culture 8,
10,
16,
80,
152–
154,
172,
217,
245–
249,
250,
276,
349–
350,
380
Hilarious Posters, The (film) 412,
414
Hogarth, William 61n
76;
Harlot’s Progress 412
Hollywood special effects 345
Holman Hunt, William 147n
11,
156n
38,
191;
The Finding of the Saviour in the Temple 187
Holy Land as depicted in illustrated Bibles 147,
161–
162,
331
Hood, Thomas: “The Song of the Shirt,” 36,
37
Howitt, William and Mary: Ruined Abbeys and Castles of Great Britain and Ireland 310,
317–
318
Hyde, George: “A Poster,” 378
idlers, caricatures of 49,
56,
58
illustrated Bibles 1,
2,
8,
18;
archaeological discoveries and 165–
68,
331;
Cassell’s 146–
147,
155–
164,
173,
175n
77,
194–
195;
as commodities 210,
229;
Dalziels’ Bible Gallery 147n
11,
150,
152,
199;
Doré illustrations 16,
147,
152,
155,
172n
65,
173–
185,
176,
183,
194–
195,
204,
208,
210–
211,
212;
family register page 155,
157,
178,
229;
heterogeneity of 144;
Hunt influenced by 188n
106;
The Jewish Family Bible 204;
Jews portrayed in 145,
147,
168,
196–
207;
Millais illustrations 18,
147,
171,
185–
195;
orientalism and 144,
165–
168,
172,
194–
195,
212;
as palimpsest 159–
161,
212;
Passion Plays and 414;
Pictorial Bible 155;
reviewers of 155–
157;
scale shifts in 179–
180;
variety of price points for 9–
10;
Victorian popularity of 143–
147,
207–
208,
283;
virtual projection and 13n
32
Illustrated Exhibitor, The 158
Illustrated London News 47,
80;
advertisements in 358,
359;
audience for 81;
Crimean War coverage 84,
86,
90–
92,
96–
105,
106,
112–
118,
120–
127,
138;
founding of 84,
148,
151;
Millais’s illustrations in 185;
price of 10
illustrated newspapers and magazines 1,
8;
advertisments in 356,
358,
407–
408;
caricatures in 10,
21,
22,
24,
33–
38,
66–
68;
Eliot’s Adam Bede and 128,
130–
131;
Millais’s illustrations in 185,
188–
189;
popularity of 47,
151–
152;
reading experience of 90–
95;
realism as aesthetic practice in 84;
war reporting in 13n
32,
17–
18,
84–
141;
wood-engraving technology for 84,
91–
92. See also
specific titles
imperialism: alterity and 266,
339–
340,
376–
377;
landscape art and 331,
334;
world picture and 144.
See also British empire
inauthenticity and fakery: picturesque and 342;
postmodernism and 210;
tourism and 343–
344;
in Victorian visual culture 14,
151–
152,
227–
228
Indian “Mutiny” (1857) 264
“Itchy and Scratchy,” 82–
83
Jamaican revolt in 1865 264
Jewish Family Bible, The 204
John Bull (personification of Britain) 28–
29,
29,
50
journalism: beginnings of profession 90–
91;
during Crimean War 13n
32,
17–
18,
85,
87,
91,
102–
111,
137,
139–
140;
editorials 132–
133;
during Napoleonic Wars 130n
86;
“on-the-spot” reporting 17,
85,
86,
102,
105,
109–
110,
134–
135,
138
Joy, George William: The Bayswater Omnibus 358,
359
keywords (concept of) 3,
8–
9
Knoepflmacher, U. C. 136n
97
landscapes: aesthetics of 328–
329;
commodification of 310;
Crimean War 96–
98,
97,
98,
99,
100–
102,
101;
East Asian 329;
Egyptian 335–
340;
eighteenth-century aesthetic 288,
289–
290,
291–
292,
298,
309;
Enclosure Acts and 328–
329;
imperialism and 331;
paintings of 292,
296,
301,
306,
315,
329;
Romanticism and 288;
sketching 311;
stereoviews of 283,
289,
292,
330–
340
Lasner, Mark Samuels 351n
9
Lays of the Holy Land from Ancient and Modern Poets 197–
198
Le Brun, Charles: Franche-Comté Conquered for the Second Time 93,
94
Le Gallienne, Richard: “The Boom in Yellow,” 388–
389
Leighton, Frederick 147n
11
Léotard, Jules (trapeze artist) 222,
261n
95
Lessing, Gotthold Ephraim: Laocoön 151
Lewes, George Henry: “Realism in Art,” 88,
135–
136
Liverpool and Manchester Railway 26
Loesberg, Jonathan 224n
22
Louis Philippe I, king 36n
25
Loutherbourg, Philip de 296,
311
Ludovisi, Princess Giacinta Orsini Buoncampagni 246–
247,
248
Lyotard, Jean-François 180
Macaulay, Thomas Babington 179
Malory, Thomas: Morte d’Arthur 349
Manganelli, Kimberly Snyder 219,
265
Marx, Karl 72;
The Communist Manifesto 404
masculinity: caricatures marketed to men 25,
48;
class and 130;
cockney figure and 41–
48,
70–
72;
decadence and 387;
epic biblical themes and 178–
181;
heroic 120,
122,
124,
128–
130,
137;
populism and 38;
as social class connector 43–
45;
sports and 44,
45;
subversive 24;
traveling correspondents and 110;
war fantasies and 137;
of war veterans 120–
124
Mason, William: The English Garden 290
mass culture: critiques of 10,
16,
210,
270;
decadence and 379–
380;
deceptions of 387n
86;
definitions of 9;
Doré’s Bible illustrations and 182;
gender and 48,
276–
277;
heterogeneous audiences for 9–
10;
inauthenticity and 147,
208,
210;
permeable boundaries of 7,
8,
377–
378;
purpose-driven 362;
sensation and 215–
218,
222,
279;
vibrancy of 152;
virality and 60,
73
material Christianity 145,
154
Meadows, Kenny: Heads of the People 49–
52,
50,
51,
68
“media war,” Crimean war as 17,
84,
85,
86
middle class: advertising geared to 358–
359;
ascendance of 84–
85;
as audience for caricatures 10;
decadence and 347,
350,
386–
388;
parlor objects 1–
2,
19,
143,
154,
283;
picturesque and 310;
sensibilities of 129,
132,
136;
values of 88,
239,
348,
388;
Victorian values 88,
94
Millais, John Everett 143;
A Child’s World 347,
359–
360,
361;
Christ in the House of His Parents 187,
189;
“The Hidden Treasure,” 193–
194,
195;
“The Lost Piece of Silver,” 192,
194;
“The Lost Sheep,” 189,
191,
191;
paid illustration work 185;
The Parables of Our Lord 18,
147,
171,
185–
195,
206
Milton, John: Paradise Lost 153,
174
misogyny 17,
380n
72;
in caricatures 17,
24,
25,
38–
39,
39;
of Sam Weller character 70–
71;
as social class connector between men 45
modernity: as age of the world picture 3–
4;
Baudelaire’s definition of 112,
116;
Christianity and 188–
189;
consumer culture and 386–
89;
Doré illustrations and 178n
82;
Eliot’s Adam Bede and 132;
epistemologies of 286;
Foucault’s views on 10–
11;
manias and 214;
mass culture and 349n
4;
omnibus and 359;
parlor as refuge from 1;
scarcity as subject in stereoviews 340;
social class and 24;
Talmeyr’s views on 383;
Victorian Bibles and 154;
violence in paintings and 177;
visual expressions of 4–
5
Moncrieff, W. T. 74–
77;
Life in London melodrama 43
Morris, Errol 102;
The Fog of War 140
Myers, Frederic W. H. 391
Nasmyth, Elizabeth Wemyss: A View of Abbotsford from across the Tweed 292,
294
National Portrait Gallery 275
new media, Victorian 2,
3,
7n
16,
17–
18;
Beardsley and 349,
377–
378;
Britain as epicenter of 8;
carnal pleasures of 15–
16;
links to modern-day 14,
19,
209,
281–
82;
mass culture and 377–
378;
postmodern theory and 343;
“present-ness” of 15;
relation to archaic forms 178;
Ruskin’s Gothic and 320;
studies of 13–
14;
temporality of 95,
130n
86;
variety of price points for 9–
10. See also
specific types
New Police Act of 1841 31,
32
New Poor Law of 1834 26,
59
Nickel, Douglas R. 336n
90
Nietzsche, Friedrich Wilhelm: The Birth of Tragedy 200;
The Case of Wagner 351,
382
Northern Star, The 81n
110
orientalism 110–
11,
170–
72,
174,
211,
338,
375;
in Beardsley posters 371;
in Holman Hunt’s religious paintings 187,
191;
illustrated Bibles and 144,
165–
68,
172,
194–
195,
212;
Jews and 201
Parry, John Orlando: The Poster Man (or, A London Street Scene) 354–
55,
356
Passion of the Christ, the (film) 212,
213
Pastrana, Julia (bearded woman) 222
patriarchy 144,
164,
178–
179,
181,
203,
205–
7,
208,
235,
252,
260,
281,
383
Petschler, H.: Rydal Falls 292,
294
Petter, George William 159n
44
Photographic News, The 226–
227
Pickwick Gazette, The 74,
75
Pickwick Papers, The (Dickens) 17,
24–
25,
46,
60,
61–
66;
caricature modes of 71–
72;
intervisuality of 61–
66;
plagiarized by pirates 73–
79;
Sam Weller character in 66,
68–
72,
69,
75–
77;
scrap aesthetic of 78–
79;
source in Seymour’s sporting sketches 61–
62;
spin-off commodities 73,
74;
stage melodrama adaptation 74–
77
Pictorial Records of the English in Egypt 181
picturesque 3,
283–
346;
aesthetic of 283,
289–
291,
296,
308–
309,
338–
339,
343–
344;
alterity and 339–
340;
artificiality of 288;
British history and 288,
306–
14,
329;
Britishness and 328–
29,
339–
40;
commodification of 310;
conventional formulas 289–
290,
309–
310,
315,
337–
338,
340,
342;
dioramas 221;
as denigrated term 341–
42;
figurative sense of 342;
framing and 288,
290,
291–
292,
315–
317,
334,
343–
344;
global 328–
340;
Gothic and 314–
328;
Instagram and 14,
344;
photography and 297–
299;
postmodern media theory and 296–
297;
privilege and 328–
329;
realist novels and 136;
ruins and 306–
314,
318–
322;
sensation and 300;
“stations” of 289,
330,
339n
95,
416;
stereoviews and 19,
283,
288,
289–
296,
313–
314;
subjectivity and 299,
313,
332;
sublime and 334–
335;
technologies of 283,
289–
296;
tourism and 9,
14,
308–
310,
312,
343–
344;
war photography and 117–
118
Pierce Egan’s Life in London and Sporting Chronicle 45,
47–
48,
48,
50
plate technologies (printing) 149
Poe, Edgar Allan 59;
“The Man of the Crowd,” 60
popular culture 9;
commodification of 12n
31;
gender and 52,
276,
399;
negative political aspects of 38;
twentieth-century 278.
See also caricatures
populism: caricatures and 25,
31,
33,
44,
50;
grotesque caricature and 30–
31,
33;
intolerance in 38
postmodern media theory: abstraction and 215,
264,
286;
automation and 15;
caricature and 82;
decadence and 352;
inauthenticity and 210;
picturesque and 296–
297,
343;
posthumanism and 298–
299;
simulacra and 14;
stereoscopes in 19,
286,
287
Prendergast, Christopher 118
Pre-Raphaelite art and artists: advertising and 360;
critics of 376–
377;
illustrations by 143,
150,
185–
207;
sensation novels and 237n
51;
verisimilitude and 88–
89
Pugin, Augustus Charles 321n
66
Pugin, Augustus Welby 321n
66
Punch, or the London Charivari 33–
38,
34,
37,
40–
41,
46,
47,
70,
80;
attacks on posters 367,
370;
“Billing and Cooing,” 367,
369;
Crimean War cartoons 105–
106,
111n
52,
113,
115,
122,
122;
“Husband-Taming,” 239n
53;
parodies of Beardsley’s style 370,
374–
376,
376,
378;
on sensational qualities of America 219;
“Sensation Novels” cartoon 223,
225
Reade, W. Winwood: Savage Africa 265–
66
realism 3,
17–
18,
84–
141;
as aesthetic practice 84,
89–
90;
authenticity effect and 18,
85,
102–
111,
130–
131,
134,
138;
in British novels 89,
129,
133,
136,
146,
185;
British theorists of 88,
89;
conventional types and 119–
128,
135–
136;
as deceptive 9,
119,
139–
140;
documentary filmmaking and 139–
140;
the everyday and 18,
85,
112–
118;
in France 8,
87–
88;
historicist effects of 112–
113,
115,
118,
132–
133,
138;
illustrated newspapers and 84–
128;
moral vision and 87;
plausibility effect and 18,
85,
92,
118–
128,
138–
139;
social taxonomy and 55;
as term of literary criticism 85;
as transhistorical stylistic choice 112;
verisimilitude effect and 18,
85,
95–
102,
120;
visual 186,
194.
See also reality effects
“reality” television shows 281
Reform era: caricature during 17,
21–
22,
26–
48;
Dickens’s Pickwick Papers and 62;
political ideals of 21,
22,
24,
50
religious dramas, censorship of 186–
187
Religious Tract Society 155n
33
Rembrandt van Rijn 194;
The Parable of the Hidden Treasure 193
respectability 80–
81;
caricature and 24,
31,
49;
cockneyism and 17,
41,
44,
45,
65;
politics of 80–
81;
race and 264;
sensation and 228;
women and 124,
232,
250,
252,
260,
263
Reynolds, Joshua: Mrs. Siddons as the Tragic Muse 248–
250,
249
Richmond, William Blake 199
Romanticism: Baudelaire’s attack on 306n
44,
367;
Baudelaire’s kaleidoscope and 305;
the cockney and 44,
45n
45;
conservative politics and 328;
cult of originality 82;
exoticized outsiders and 110–
111;
expressed in caricature 24n
10,
43n
35;
the Gothic and 318,
321;
Kittler’s critique of 16;
in literature 23,
130n
86;
models of “deep” character and 23,
309,
313;
opposed by decadent aesthetic 350;
philosophies of 283,
288,
298–
301;
picturesque commodification and 309–
314,
335;
portraiture and 276n
138;
stereoscope and 15,
19,
283,
288,
297,
299–
303,
304,
309–
311,
314,
335,
340;
visual culture of 322,
325;
visual effects 312;
war and 130n
86.
See also fragment (aesthetic of the),
Martin, John;
Shelley, Percy B.;
Wordsworth, William
Roslin Chapel (Scotland) 325,
327
Ruskin, John 19,
320–
322,
383;
Fors Clavigera 356–
357;
on illustrated Bibles 155–
157;
Modern Painters 88,
186;
Porch of St. Maclou, Rouen (daguerreotype) 324;
The Seven Lamps of Architecture 321–
322,
324
Sam Weller! (stage play) 75–
77
sensation 3,
214–
82;
as 1860s phenomenon 8,
19,
214,
216,
222;
advertising and 356,
370;
American roots of 219;
“cinema of attractions,” 408;
circus acts and 222;
commodification of 215;
critics of 270–
272;
decadence and 348;
everyday life and 222;
illustrated newspapers and 93;
mediation and 8,
19,
215,
219,
269,
300;
nervous stimulation and 215;
in new media commons 278–
282;
photography and 263–
64;
physiological response and 218–
219;
picturesque and 288;
politics of 223;
race and 264–
268;
scandals and 215,
219,
245,
274,
278;
sensory perception 385;
sublime and 299–
300;
as titillating 9,
221,
222;
waxworks and 273–
275;
women’s behavior and 222–
223,
232–
239,
262–
263,
275–
278.
See also carte-de-visite portraits;
sensation novels
“Sensation! A Satire” (poem) 222,
253
sensation novels 19,
221–
224;
Collins’s The Woman in White 19,
218,
219,
222,
239–
244;
critics of 217n
5,
221,
222,
270–
272;
as genre 218–
19;
mixed-class associations of 217–
218;
plots of 218;
reception of 250;
scandalous plotlines for 221;
on slavery 219;
social class and 214;
Walters’s appearance in 232–
233,
236–
238;
women readers of 238;
women’s behavior in 223.
See also Braddon, M. E.;
Collins, Wilkie
Sharp, Evelyn: “A New Poster,” 378–
379
Shaw, George Bernard: Arms and the Man 371
Shelley, Percy Bysshe: “Ozymandias,” 338,
340
Shuttleworth, Sally 217n
5
Silvy, Camille 246–
247,
248,
252,
251–
253,
252,
255,
255,
257,
258,
265,
267–
268
Simpsons, The (TV show) 82–
83
sketch-books (of Cruikshank) 27–
28
Smiles, Samuel: Self Help 388
Smith, Albert: The Natural History of the Gent 56–
58,
57;
The Natural History of the Idler Upon Town 58
social class: caricature and 17;
carte-de-visite portraits and 214–
215,
227–
228,
230–
232;
challenges to 217–
218;
Collins’s The Woman in White and 239–
240;
hierarchy 11,
16,
49,
52,
58–
59,
81,
127,
139,
214–
215,
217,
232,
240,
268;
instabilities of 25,
44,
45,
65,
223–
224;
modernity and 24;
portraits of lower-class or working women 248–
250;
sports as connector across 56–
58,
57
Society for the Diffusion of Useful Knowledge 71,
80,
155
Solomon, Simeon: “The Day of Atonement,” 201,
203;
“The Feast of Dedication,” 201,
204;
homosexuality and homoerotic drawings of 196,
201n
134,
205n
141;
illustrations compared with Eliot’s Daniel Deronda 204–
6;
illustrations of Jewish customs 18,
196,
199–
204;
“The Wedding Ceremony,” 201,
203
“Somebody” (stock caricature character) 30–
31,
33,
35
stage and theater: advertising for 356–
357,
361–
364,
370–
379,
396–
402,
398–
402;
censorship of biblical subjects 186–
187;
mechanical innovations 296;
melodramas 43,
74–
77,
371;
pantomimes 39,
66,
381,
401,
402,
402;
tableaux 217,
221
Stallybrass, Peter 30,
37
stamp taxes (or “taxes on knowledge”) 9n
21,
47,
158,
354
Stendhal, Henri Marie Beyle: Scarlet and Black 131
Stephens, John Russell 186–
87
stereoscopes 2,
19–
20;
Baudelaire’s attack on 305–
6n
44;
deep view of 283–
288;
embrace of in Christian periodical Good Words 188;
legacy of 344–
346;
origins of 284;
as prosthesis 19,
283,
299–
301,
303–
305,
338,
343;
Romanticism and 15,
288,
297,
299–
301,
309,
314;
sensation and 16,
288;
subjectivity and 286–
87,
301,
313–
314,
332;
successors of 341;
variety of price points for 9;
Victorian popularity of 1,
283;
View-Masters 341;
as virtual projection 13n
32.
See also stereoviews
stereotype: caricature and 23–
24;
as printing process 24
stereoviews 1,
2,
9,
19,
117;
“America in the Stereoscope” series 331–
335;
art historians’ neglect of 284–
286,
287–
288;
of British ruins and historic buildings 306–
314;
of cathedral ornaments 321–
322;
educational context of 15–
16,
286;
of Egypt 331,
335–
340,
337;
Gothic history and 314–
318;
labels on 15–
16,
307,
332–
333,
335;
marketing of 287;
picturesque and 19,
283,
288–
296;
popularity of 284,
287;
pornographic 345;
retreating planes in 292;
sequential storytelling in 414,
416;
standardization of 284;
virtuality and 287;
of waterfalls 292,
294
Stowe, Harriet Beecher: Uncle Tom’s Cabin 158
Sully, James: “The Dream as a Revelation,” 391
Sweeney Todd character 68n
88
Swift, Jonathan: A Modest Proposal 26
Talmeyr, Maurice: “L’Age d’Affiche,” 381–
85,
404;
Cité du Sang 365n
45
Taylor, Jenny Bourne 217n
5
Tennyson, Alfred, Lord: “The Charge of the Light Brigade,” 87,
100–
102,
116–
17n
67,
128;
Doré illustrations for works by 174;
Idylls of the King 94
Thackeray, William 49n
54,
85n
4;
essay on Mr. Punch and caricature history 41n
33;
Vanity Fair 33,
151;
as visual artist 41n
33
Thomas Agnew and Sons 106
Thomson, John: Conway Castle 315,
317
Times, The (London) 87,
106
Tintern Abbey 288,
329,
339,
340;
engraving of 291,
292;
popularity as stereographic subject 311–
314;
stereoviews of 19,
308,
308–
309,
313,
312–
314;
Turner’s painting of 306,
308,
311;
Wordsworth’s poem addressed to 311–
14
Todhunter, John: A Comedy of Sighs 371,
373–
374
topographic photographs 289
Turner, J. M. W. 286,
301n
36;
Interior of Tintern Abbey 306,
308,
311;
Snow Storm—Steam-Boat off a Harbour’s Mouth … 102,
104;
watercolor of Melrose Abbey 306
Twist and Nickleby Scrap Sheet, The 77
Veblen, Thorstein: Theory of the Leisure Class 387
Verdi, Giuseppe: La Traviata 253
verisimilitude: anachronistic 187;
in documentaries 138;
as effect 95–
96,
100–
102,
120;
Pre-Raphaelite painting and 88–
89;
in realist novels 130;
sensation 216
Victoria, Queen 126,
126–
127,
207,
263,
284;
Bonetta and 265,
267–
268;
carte-de-visite portraits of 19,
214,
218;
gender norms and 261–
262,
276;
iconic visibility of 258,
260–
264,
276
Victoria and Albert Museum 1;
Cult of Beauty exhibition 6
video games, first-person shooter 181
violence: blood sports and 45,
62,
64–
65;
in caricatures 25,
26;
in cartoons 82–
83;
in Doré’s Bible illustrations 174,
178–
81;
in London 72;
mob 38,
71;
in Pickwick Papers 71–
72;
social class instability and 45;
in Victorian Christianity 145;
working-class 370.
See also mock-violence
visual culture studies 5–
7
visual culture, Victorian 4–
6;
alterity and 12–
13n
32;
British empire driving production of 8;
compared with Romantic visual culture 324–
325;
defined 4;
inauthenticity in 14;
as mediascape 1–
20;
seen as reactionary 10–
11;
social media and 16;
as world portal 1. See also
specific topics
visuality 5–
6,
89,
325;
Catholicism and 152;
denigration of 11,
210;
gender and 204n;
haptic 216;
illicit 233;
mass 344;
modernity and 10–
11;
in realist novels 130;
tangibility and 300. See also
specific media
Walker, Frederick: Woman in White advertising poster 361,
361–
364
Warhol, Andy 403–
406;
commodity culture and 20
Weller Scrap Sheet, The 77
West, Benjamin: The Death of Nelson 93n
30
Westall’s Illustrations to the Works of Walter Scott 148
Wetherell, Sir Charles 66
Whistler, James McNeill 390;
Symphony in White No. 1 362,
364,
375
Wicke, Jennifer A. 353n
20
Willis, Nathaniel P.: American Scenery 333,
335
Woman in White, The (sheet music) 219,
221
women: in advertising posters 361–
364,
367,
370–
379,
381,
384–
385,
390,
393,
398–
399;
“fast,” 237–
238,
265;
female types in The Woman in White 241–
243,
275–
276;
in films 415–
416;
“Girl of the Period,” 218,
232–
239,
243,
264,
265;
illicit transactions between 238–
239;
“New Woman,” 380n
72;
portrayed in cartes de visite 19,
214–
215,
218,
222,
225,
232–
235,
237,
243–
273;
technosexual 19,
273–
278;
walking 410,
412
Wonderful Album, A (film) 412,
414
Wordsworth, William 23,
82;
“Illustrated Books and Newspapers,” 150–
151;
stereoscopic imagery and 309–
10;
“Tintern Abbey,” 19,
288,
311–
313
working/lower-middle class: 1830s unrest 26,
44,
59–
60;
1840s conservatism of 80–
81;
advertising targeted to 355–
356,
370;
as audience for caricatures 10;
caricatures of 17,
31,
33,
56–
58,
59–
60;
carte-de-visite portraits of 231–
232;
Crimean War and 122,
127–
128,
136;
decadence and 397;
in Eliot’s Adam Bede 128–
136,
132,
136;
enfranchisement of 231;
misogyny in 45;
sympathies and prejudices 38,
39
world picture: Bible illustration and 18,
142,
165–
173,
174,
207–
9;
Heidegger’s concept of 3–
4,
144;
Victorian visual media and 2
Wright of Derby, Joseph: Rydal Waterfall 292,
294
Yeats, W. B.: The Land of Heart’s Desire 371
zany humor (concept of Sianne Ngai) 81–
82