Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity and originality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the 'discovery' of the Romanesque; it generated a debate about the value of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century. J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the Stones of Venice to Victor Hugo's Notre Dame de Paris has hardly been noted, and Browning's involvement with the debate on the morality of Christian art is explored more extensively than previously. Three chapters are devoted to the role of British criticism in identifying the Romanesque style in architecture and differentiating it from the Gothic. They trace the concept as it arose in criticism at the beginning of the nineteenth century; its employment in the remarkable buildings of Edmund Sharpe and Sara Losh and the way in which it reached a climax in Waterhouse's enigmatic choice of Romanesque for the Natural History Museum in London. The collection concludes with two continental episodes from the history of modernism. One is the explosive British reaction to the primitivism of Gauguin; the other involves the identifying of one of the characters in D. H. Lawrence's novel Women in Love. Curious evidence suggests that the malevolent figure of Loerke was based on a German sculptor whom Lawrence met in Italy before the First World War.

Each of Thomas Hardy's novels is filled with striking visual images -- characters, interior settings, buildings, village scenes, and open tracts of land. These images are all rendered with a vitality and energy immediately recognizable as Hardy's own. In fact, Hardy, whose style owed much to his abilities as a draughtsman, once remarked that he saw his narratives as a series of images. J. B. Bullen explores this fascinating link between the image and the idea in the fiction of Thomas Hardy, and demonstrates how Hardy approached his work from a particular "point of view" which not only determined the lighting, composition, and structure of his literary visual effects, but which also allowed him to express emotions and ideas in the direct, "vividly visible" fashion that is the hallmark of his greatest fiction.

Few people who use the word `Renaissance' today realize that it is a comparatively recent historical idea, or that it is a `myth' or story constructed by writers to explain the past. In this innovative and wide-ranging study, J.B. Bullen traces the genesis of that myth back to the late eighteenth and nineteenth centuries.The seeds of the idea are to be found in Voltaire, but Dr Bullen shows how it was taken up by French art historians and Gothic revivalists as an important element in the acrimonious political and religious debates with French historiography,. The book's main focus, however, is on English intellectual life and the ways in which writers like Pugin, Ruskin, Browning, and George Eliot took up the terms established by Hugo, Rio, and Michelet in France and adapted a reading of fifteenth-century Italy to suit the special conditions of Victorian England. Ultimately, in the work of Swinburne, Arnold, Pater, and Symonds the Renaissance became a key factor in relating ethics and aesthetics, and in its late nineteenth-century phase, the myth figures prominently in an important discussion about the relationship between power, authority, and individualism.The Myth of the Renaissance in Nineteenth-Century Writing is a major conribution to the analysis of a neglected aspect of Victorian intellectual life and will be essential reading for all scholars and students of the nineteenth century.

Pre-Raphaelitism was the first avant-garde movement in Britain. It shocked its first audience, and as it modulated into Aestheticism it continued to disturb the British public. In this fresh and original study, Professor Bullen traces the sources of that shock to the representation of the human body. By examining the discourses which were developed to denounce or to explain the new art forms he shows that the distorted, maimed, or eroticized body formed the principal focus of anxiety in nineteenth-century criticism. Using a truly interdisciplinary method he relates the painting of Millais and other early Pre-Raphaelites to fears about cholera and Catholicism; he demonstrates how the body of the sexualized female became an object of obsessive fascination in the painting and poetry of Dante Gabriel Rossetti and William Morris; he locates the writing of Swinburne and Prater in the context of the debate over the `Woman Question', and he shows how the responses to the `Aesthetic' painting of Burne-Jones were conditioned by the sexual psychopathology of mid nineteenth-century mental science.

Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity and originality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the 'discovery' of the Romanesque; it generated a debate about the value of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century.J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the Stones of Venice to Victor Hugo's Notre Dame de Paris has hardly been noted, and Browning's involvement with the debate on the morality of Christian art is explored more extensively than previously. Three chapters are devoted to the role of British criticism in identifying the Romanesque style in architecture and differentiating it from the Gothic. They trace the concept as it arose in criticism at the beginning of the nineteenth century; its employment in the remarkable buildings of Edmund Sharpe and Sara Losh and the way in which it reached a climax in Waterhouse's enigmatic choice of Romanesque for the Natural History Museum in London. The collection concludes with two continental episodes from the history of modernism. One is the explosive British reaction to the primitivism of Gauguin; the other involves the identifying of one of the characters in D. H. Lawrence's novel Women in Love. Curious evidence suggests that the malevolent figure of Loerke was based on a German sculptor whom Lawrence met in Italy before the First World War.

«This is a new and scholarly study of William Michael Rossetti’s séance diary, which is a fascinating first-hand source for the Rossetti brothers in the 1860s and offers a new perspective on the relationship between the Pre-Raphaelite circle and the spiritualist world.»(Jan Marsh) «As quirky and unsettling as the table-turnings it documents, this meticulously edited and annotated séance diary features guest-appearances from the spirits of John Polidori, Elizabeth Siddal and Gabriele Rossetti, among many notable others. Essential reading for anyone interested in the Pre-Raphaelites, Spiritualism, and the Victorian paranormal.»(Dinah Roe, Reader in Nineteenth Century Literature, Oxford Brookes University) William Michael Rossetti’s séance diary is a remarkable document in both the history of Pre-Raphaelitism and nineteenth-century spiritualism. In this previously unpublished manuscript, Rossetti meticulously recorded twenty séances between 1865 and 1868. The original motive was the death, in 1862, of Dante Gabriel Rossetti’s wife, Elizabeth Siddal. He felt a profound sense of guilt about her and began these séances to reassure himself that she was happy in the afterlife. Messages came from many spirits within the Pre-Raphaelite circle and provide an unprecedented record of spiritualist activity in the late nineteenth century. Questions and answers fill the pages of the diary, many of them communicating uncannily accurate information or details that could be known only to the participants.This book also includes another unpublished document showing spiritualism in action. It comprises a long letter to Dante Gabriel Rossetti written in 1856 from the artist and spiritualist medium Anna Mary Howitt recounting her interactions with the spirit world and her (sometimes violent) experiences as she became aware of the extent of her psychic powers. Both sections of this book provide an original insight into the cult of spiritualism and throw considerable light on the interactions between members of the Pre-Raphaelite circle and beyond.

«This book is a fascinating study of the love letter in a rich historical context, in which painting played an essential part – not merely illustrating epistolary dynamics, but creating them. Roberta Zanasi’s very engaging approach creates a fresh and significant subject in literary and art criticism. A great read.»(Clare Brant, King’s College London) In Victorian times, when postal reforms and technological progress revolutionized communication, letter writing became more widespread than ever. Love letters, in particular, continued to be central in the courtship ritual. However, as new ideas about love and marriage came along, they no longer exclusively represented the quintessential romantic form in the popular imagination.Through a close analysis of a broad corpus of Victorian correspondences, novels and paintings, this book demonstrates that novelists and painters who dealt with the ever-recurring themes of love and marriage could not refrain from incorporating an epistolary element into their works. Letters still inspired artists of all kinds, and advances in communications, rather than displacing them, made people more aware of the essence and potentiality of this medium.

Showcase Britain explores the diverse aspects of British participation in the Vienna World Exhibition (Weltausstellung) of 1873. The exhibition covered a vast spectrum of human endeavour and achievement. The British involvement encompassed not only the national submission but also the British individuals who visited and contributed to the displays. The book offers a snapshot of British aspirations and commerce at a singular point in history through the lens of the exhibition. The central theme is explored through various perspectives: the ceramic collections, the Fine Art collections, British connections with China, the act of collecting, the visitor experience, and the mobility and re-use of collections, with particular reference to the display from India. The British submission is compared and contrasted throughout with that of the government of Japan, a newcomer to international shows, whose collections presented a competitor to Britain’s and a focus for British acquisition and emulation. Finally, the exhibition is viewed in the wider context of international exhibitions held in London in the following decade.

Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity and originality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the 'discovery' of the Romanesque; it generated a debate about the value of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century. J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the Stones of Venice to Victor Hugo's Notre Dame de Paris has hardly been noted, and Browning's involvement with the debate on the morality of Christian art is explored more extensively than previously. Three chapters are devoted to the role of British criticism in identifying the Romanesque style in architecture and differentiating it from the Gothic. They trace the concept as it arose in criticism at the beginning of the nineteenth century; its employment in the remarkable buildings of Edmund Sharpe and Sara Losh and the way in which it reached a climax in Waterhouse's enigmatic choice of Romanesque for the Natural History Museum in London. The collection concludes with two continental episodes from the history of modernism. One is the explosive British reaction to the primitivism of Gauguin; the other involves the identifying of one of the characters in D. H. Lawrence's novel Women in Love. Curious evidence suggests that the malevolent figure of Loerke was based on a German sculptor whom Lawrence met in Italy before the First World War.

Each of Thomas Hardy's novels is filled with striking visual images -- characters, interior settings, buildings, village scenes, and open tracts of land. These images are all rendered with a vitality and energy immediately recognizable as Hardy's own. In fact, Hardy, whose style owed much to his abilities as a draughtsman, once remarked that he saw his narratives as a series of images. J. B. Bullen explores this fascinating link between the image and the idea in the fiction of Thomas Hardy, and demonstrates how Hardy approached his work from a particular "point of view" which not only determined the lighting, composition, and structure of his literary visual effects, but which also allowed him to express emotions and ideas in the direct, "vividly visible" fashion that is the hallmark of his greatest fiction.

Few people who use the word `Renaissance' today realize that it is a comparatively recent historical idea, or that it is a `myth' or story constructed by writers to explain the past. In this innovative and wide-ranging study, J.B. Bullen traces the genesis of that myth back to the late eighteenth and nineteenth centuries.The seeds of the idea are to be found in Voltaire, but Dr Bullen shows how it was taken up by French art historians and Gothic revivalists as an important element in the acrimonious political and religious debates with French historiography,. The book's main focus, however, is on English intellectual life and the ways in which writers like Pugin, Ruskin, Browning, and George Eliot took up the terms established by Hugo, Rio, and Michelet in France and adapted a reading of fifteenth-century Italy to suit the special conditions of Victorian England. Ultimately, in the work of Swinburne, Arnold, Pater, and Symonds the Renaissance became a key factor in relating ethics and aesthetics, and in its late nineteenth-century phase, the myth figures prominently in an important discussion about the relationship between power, authority, and individualism.The Myth of the Renaissance in Nineteenth-Century Writing is a major conribution to the analysis of a neglected aspect of Victorian intellectual life and will be essential reading for all scholars and students of the nineteenth century.

Pre-Raphaelitism was the first avant-garde movement in Britain. It shocked its first audience, and as it modulated into Aestheticism it continued to disturb the British public. In this fresh and original study, Professor Bullen traces the sources of that shock to the representation of the human body. By examining the discourses which were developed to denounce or to explain the new art forms he shows that the distorted, maimed, or eroticized body formed the principal focus of anxiety in nineteenth-century criticism. Using a truly interdisciplinary method he relates the painting of Millais and other early Pre-Raphaelites to fears about cholera and Catholicism; he demonstrates how the body of the sexualized female became an object of obsessive fascination in the painting and poetry of Dante Gabriel Rossetti and William Morris; he locates the writing of Swinburne and Prater in the context of the debate over the `Woman Question', and he shows how the responses to the `Aesthetic' painting of Burne-Jones were conditioned by the sexual psychopathology of mid nineteenth-century mental science.

Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity and originality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the 'discovery' of the Romanesque; it generated a debate about the value of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century.J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the Stones of Venice to Victor Hugo's Notre Dame de Paris has hardly been noted, and Browning's involvement with the debate on the morality of Christian art is explored more extensively than previously. Three chapters are devoted to the role of British criticism in identifying the Romanesque style in architecture and differentiating it from the Gothic. They trace the concept as it arose in criticism at the beginning of the nineteenth century; its employment in the remarkable buildings of Edmund Sharpe and Sara Losh and the way in which it reached a climax in Waterhouse's enigmatic choice of Romanesque for the Natural History Museum in London. The collection concludes with two continental episodes from the history of modernism. One is the explosive British reaction to the primitivism of Gauguin; the other involves the identifying of one of the characters in D. H. Lawrence's novel Women in Love. Curious evidence suggests that the malevolent figure of Loerke was based on a German sculptor whom Lawrence met in Italy before the First World War.

«This is a new and scholarly study of William Michael Rossetti’s séance diary, which is a fascinating first-hand source for the Rossetti brothers in the 1860s and offers a new perspective on the relationship between the Pre-Raphaelite circle and the spiritualist world.»(Jan Marsh) «As quirky and unsettling as the table-turnings it documents, this meticulously edited and annotated séance diary features guest-appearances from the spirits of John Polidori, Elizabeth Siddal and Gabriele Rossetti, among many notable others. Essential reading for anyone interested in the Pre-Raphaelites, Spiritualism, and the Victorian paranormal.»(Dinah Roe, Reader in Nineteenth Century Literature, Oxford Brookes University) William Michael Rossetti’s séance diary is a remarkable document in both the history of Pre-Raphaelitism and nineteenth-century spiritualism. In this previously unpublished manuscript, Rossetti meticulously recorded twenty séances between 1865 and 1868. The original motive was the death, in 1862, of Dante Gabriel Rossetti’s wife, Elizabeth Siddal. He felt a profound sense of guilt about her and began these séances to reassure himself that she was happy in the afterlife. Messages came from many spirits within the Pre-Raphaelite circle and provide an unprecedented record of spiritualist activity in the late nineteenth century. Questions and answers fill the pages of the diary, many of them communicating uncannily accurate information or details that could be known only to the participants.This book also includes another unpublished document showing spiritualism in action. It comprises a long letter to Dante Gabriel Rossetti written in 1856 from the artist and spiritualist medium Anna Mary Howitt recounting her interactions with the spirit world and her (sometimes violent) experiences as she became aware of the extent of her psychic powers. Both sections of this book provide an original insight into the cult of spiritualism and throw considerable light on the interactions between members of the Pre-Raphaelite circle and beyond.

«This book is a fascinating study of the love letter in a rich historical context, in which painting played an essential part – not merely illustrating epistolary dynamics, but creating them. Roberta Zanasi’s very engaging approach creates a fresh and significant subject in literary and art criticism. A great read.»(Clare Brant, King’s College London) In Victorian times, when postal reforms and technological progress revolutionized communication, letter writing became more widespread than ever. Love letters, in particular, continued to be central in the courtship ritual. However, as new ideas about love and marriage came along, they no longer exclusively represented the quintessential romantic form in the popular imagination.Through a close analysis of a broad corpus of Victorian correspondences, novels and paintings, this book demonstrates that novelists and painters who dealt with the ever-recurring themes of love and marriage could not refrain from incorporating an epistolary element into their works. Letters still inspired artists of all kinds, and advances in communications, rather than displacing them, made people more aware of the essence and potentiality of this medium.

Showcase Britain explores the diverse aspects of British participation in the Vienna World Exhibition (Weltausstellung) of 1873. The exhibition covered a vast spectrum of human endeavour and achievement. The British involvement encompassed not only the national submission but also the British individuals who visited and contributed to the displays. The book offers a snapshot of British aspirations and commerce at a singular point in history through the lens of the exhibition. The central theme is explored through various perspectives: the ceramic collections, the Fine Art collections, British connections with China, the act of collecting, the visitor experience, and the mobility and re-use of collections, with particular reference to the display from India. The British submission is compared and contrasted throughout with that of the government of Japan, a newcomer to international shows, whose collections presented a competitor to Britain’s and a focus for British acquisition and emulation. Finally, the exhibition is viewed in the wider context of international exhibitions held in London in the following decade.