Endnotes

[1] Christopher Newall, The Art of Lord Leighton (Oxford: Phaidon Press, 1990), 17.

[2] Newall, The Art of Lord Leighton, 14.

[3] Ernest Rhys, Frederic Lord Leighton, An Illustrated Record of His Life and Work, (London: George Bell and Sons, 1900), 6.

[4] Hilary Fraser, The Victorians and Renaissance Italy (Oxford, UK: Blackwell, 1992), 100.

[5] “Notes on Some of the Principal Pictures Exhibited in the Rooms of the Royal Academy Exhibition. 1855” The Crayon 2, no. 7 (1855): 98-101.

[6] Anonymous, “Fine Art Gossip,” The Athenæum, (1855): 527.

[7] Anonymous, “Fine Arts: Royal Academy,” The Athenaeum, (1855): 558.

[8] Anonymous, “The Royal Pictures,” Art Journal, 1855: 169-70.

[9] Newall, The Art of Lord Leighton, 140.

[10] Stephen Jones, “Leighton the Academic,” in Frederic, Lord Leighton: Eminent Victorian Artist, ed. Phyllis Freeman (London: Royal Academy of Arts, 1996), 55.

[11] Richard Ormond, “Leighton and His Contemporaries,” in Frederic, Lord Leighton, 21.

[12] Tim Barringer and Elizabeth Prettejohn, Frederic Leighton: Antiquity, Renaissance, Modernity (New Haven: Paul Mellon Centre for Studies in British Art and the Yale Center for British Art by Yale University Press, 1999), xxiv

[13] Barringer and Prettejohn, Frederic Leighton, xxv

[14] Barringer and Prettejohn, Frederic Leighton, xxvi.

[15] Barringer and Prettejohn, Frederic Leighton, xviii

[16] Keren Hammerschlag, Frederic Leighton: Death, Mortality, Resurrection (Surrey, England: Ashgate Publishing Limited, 2015), 4; John Ruskin, ‘Lecture 3: Classic Schools of Painting: Sir F. Leighton and Alma Tadema’, in The Art of England: Lectures Given in Oxford (Sunnyside, Orpington, Ken: George Allen, 1884), 96.

[17] Hammerschlag, Frederic Leighton: Death, Mortality, Resurrection, 6.

[18] Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors, and Architects (New York: Simon and Schuster, 1946), 4.

[19] Vasari, Lives of the Artists, 16.

[20] Vasari, Lives of the Artists, 84.

[21] Vasari, Lives of the Artists, 4.

[22] Vasari, Lives of the Artists, 4.

[23] Jennifer Abraham, “Frederic Leighton’s ‘Cimabue’s Celebrated Madonna’: A Study in 19th-Century Representations of the Renaissance,” The British Art Journal 6, no. 3 (December 2005), 64.

[24] Fraser, The Victorians and Renaissance Italy, 45.

[25] Vasari had attributed to Taddeo Gaddi and Simone Memmi, which we know now to be untrue. Leighton believed the figures in the fresco to be Cimabue, Simone Memmi, Taddeo Gaddi, and Giotto. It is now known that these artists were mistakenly identified. It was quite common for artworks to be misattributed during the Victorian period. See Julian Gardner, “Andrea di Bonaiuto and the Chapterhouse Frescoes in Santa Maria Novella,” Art History 2, no. 1, 1979, 108-9 and Stephen Jones, Frederic, Lord Leighton: Eminent Victorian Artist. (London: Royal Academy of Arts, 1996), 570.

[26] Anonymous, “Fine Art Gossip,” 572.

[27] Dante Aligheri, Purgatorio, trans. Jean Hollander (New York: Anchor Books, Random House, 2003), 237.

[28] Emilie Barrington, Life, Letters, and Work of Frederic Leighton Vol. II (London: George Allen Ruskin House, 1906), 21.

[29] Patricia Fortini Brown, Venetian Narrative Painting in the Age of Carpaccio (New Haven: Yale University Press, 1988), 1.

[30] Steven Jones, “The Image of the Artist: The Influence of Renaissance Sources on High Victorian Art,” RSA Journal 137, no. 5397 (1989), 570.

[31] Fortini Brown, Venetian Narrative Painting, 2.

[32] Patricia Fortini Brown, Art and Life in Renaissance Venice, (New York: Prentice Hall, 1997), 86.

[33] Jonathan Marsden, Victoria and Albert, Art and Love, (London: Royal Collection, 2010), 123.

[34] Anonymous, ‘The Royal Academy Exhibition, 1854,” The Art Journal (1854): 161.

[35] John Ruskin, The Works of John Ruskin, (Cambridge: Cambridge University Press, 2010), 26.

[36] Fortini Brown, Art and Life in Renaissance Venice, 9.

[37] Fortini Brown, Art and Life in Renaissance Venice, 9.

[38] John E. Law and Lene Østermark-Johansen, Victorian and Edwardian Responses to the Renaissance (Aldershot, Hants, England: Ashgate, 2005), 1.

[39] Frank M. Turner, “Medievalism and the Invention of the Renaissance,” in European Intellectual History from Rousseau to Nietzsche (New Haven, Yale University Press, 2014),  73.

[40] R.A. Church, “Mid-Victorian Prosperity,” in The Great Victorian Boom (London: Palgrave, 1975) 71.

[41] Abraham, “Frederic Leighton’s ‘Cimabue’s Celebrated Madonna,” 61.

[42] Fraser, Victorians and the Renaissance, 65.

[43] Fraser, Victorians and the Renaissance, 63.

[44] In 1848, they housed a summer exhibition of Italian paintings which drew a significant crowd. Flavia Dietrich, “Art History Painted: The Pre-Raphaelite View of Italian Art: Some Works by Rossetti,” The British Art Journal 2, no. 1 (2000), 69.

[45] Fraser, The Victorians and Renaissance Italy, 3.

[46] Turner, “Medievalism and the Invention of the Renaissance,” 73.

[47] “1819–1829 Italy and after,” in J.M.W. Turner: Sketchbooks, Drawings and Watercolours, ed. David Blayney Brown (London: Tate Research Publication, 2012).

[48] Lene Østermark-Johanson, “Introduction,” in Victorian and Edwardian Responses to the Renaissance, 4.

[49] Katerine Gaja, “Illustrating Lorenzo the Magnificent: From William Roscoe’s The Life of Lorenzo de’ Medici called the Magnificent (1795) to George Frederic Watts’s Fresco at Careggi (1845),” in Victorian and Edwardian Responses to the Renaissance, 121.

[50] J.B. Bullen, The Myth of the Renaissance in Nineteenth-Century Writing (Oxford: Clarendon Press, 1988), 96.

[51] Narasingha P. Sil, “Augustus W.N. Pugin: Restless Genius,” Studies in History (Sahibabad) 29, no. 2 (2013), 208.

[52] Sil, “Augustus W.N. Pugin: Restless Genius,” 208.

[53] Tim Barringer and Jason Rosenfeld, “Victorian Avant-Garde,” in Pre-Raphaelites: Victorian Avant-Garde (London: Tate, 2012), 10.

[54] Sil, “Augustus W.N. Pugin: Restless Genius,” 218.

[55] Augustus Pugin, Contrasts: or a Parallel between the Noble Edifices of the Middle Ages, and Corresponding Buildings of the Present Day: Shewing the Present Decay of Taste (Edinburgh: J. Grant), iii.

[56] Bullen, The Myth of the Renaissance, 104.

[57] Augustus Pugin, Contrasts, 16.

[58] Aidan Nichols, “Building Blocks: The Stones of Venice,” in All Great Art is Praise (Washington, DC.: Catholic University of America Press, 2016), 202.

[59] Susan P. Casteras, Ruskin and the Victorian Eye (New York: Harry N. Abrams, 1993), 15.

[60] Fraser, Victorians and the Renaissance, 62.

[61] Barrington, Life, Letters and work of Frederic Leighton Vol. 1, 109.

 [62]Casteras, “John Ruskin and the Victorian Eye,” 33.

[63]Casteras, “John Ruskin and the Victorian Eye,” 140.

[64] Barrington, The Life, Letters and Work of Frederic Leighton, Vol. 1, 180; Ruskin, “1855,” in The Works of John Ruskin, 26.

[65] Ruskin, “1855,” in The Works of John Ruskin, 27.

[66]Hammerschlag, Frederic Leighton: Death, Mortality, Resurrection, 2

[67]Barringer and Rosenfeld, The Victorian Avant-Garde, 10.

[68] Barringer and Rosenfeld, The Victorian Avant-Garde, 9.

[69]Lucy Hartley, “Putting the Drama into Everyday Life: The Pre-Raphaelite Brotherhood and a Very Ordinary Aesthetic,” Journal of Victorian Culture 7, no. 2 (2002): 175.

[70]Dante Rossetti, Germ: Thoughts Toward Nature in Poetry, Literature and Art, 59.

[71]Barringer, The Victorian Avant-Garde, 44.

[72]Barringer, The Victorian Avant-Garde, 44.

[73] Anonymous, “Fine Art Gossip,” 527.

[74] Newall, The Art of Lord Leighton, 17.

[75] George Athan Billias, American Constitutionalism Heard Round the World (New York: New York University Press, 2009), 184.

[76] Billias, American Constitutionalism, 192.

[77] Billias, American Constitutionalism, 195.

[78] Illustrated London News, 4 March 1848.

[79] Greville Memoirs, VI, 209.

[80] Roland Quinault, “1848 and Parliamentary Reform,” The Historical Journal 31, no. 4 (1988), 846.

[81] Richard Monckton Milnes and Henry Petty-Fitzmaurice, The Events of 1848 (London: J. Ollivier, 1849)

[82] David Goodway, London Chartism (Cambridge: Cambridge University Press, 1982), 76.

[83] Kirstie Blair, “Chartism,” in Victorian Literature (Oxford: Oxford University Press, 2011).

[84] John Plunkett, “Of Hype and Type: The Media Making of Queen Victoria 1837-1845,” Critical Survey 13, no. 2 (2001): 23.

[85] Thomas Carlyle, Latter-day pamphlets (London, 1850), 7-8.

[86] Shelley Wood Cordulack, “Victorian Caricature and Classicism: Picturing the London Water Crisis,” International Journal of the Classical Tradition 9, no. 4 (2003): 535.

[87] James Belich, The Victorian Interpretation of Racial Conflict of the Maori. The British, and the New Zealand Wars (Montreal: McGill-Queen’s University Press), 15.

[88] Clare Anderson, “The Transportation of Narain Sing: Punishment, Honour and Identity form the Anglo-Sikh Wars to the Great Revolt,” Modern Asian Studies 44, no. 5 (2010), 1118.

[89] Anderson, “The Transportation of Narain Sing,” 1118.

[90] Shane Malhotra, “‘If She Escapes She Will Publish Everything’: Lady Sale and the Media Frenzy of the First Anglo-Afghan War (1839-1842)” Book History 17 (2014): 273.

[91] Julien Mauduit, “American Republicanism at a Crossroads: Canadian ‘Twin Stars,’ Annexation, and Continental Order (1837-42)” Early American Studies: An Interdisciplinary Journal 18, no. 3 (2020): 366.

[92] Walter L. Arnstein, “The Warrior Queen: Reflections on Victoria and her World,” Albion: A Quarterly Journal Concerned with British Studies 30, no. 1 (1998): 2.

[93] F. Airplay, Prince Albert Why Is He Unpopular? (London: Saunders and Otley, 1856), 9.

[94] Plunkett, “Of Hype and Type,” 7.

[95] “The Royal Actresses Debut,” Figaro in London, 25 November 1837, 185.

[96] Plunket, “Of Hype and Type,” 21.

[97] Plunkett, “Of Hype and Type,” 20.

[98] Ira B. Nadel, “Portraits of the Queen,” Victorian Poetry 25, no. 3 (1987): 170.

[99] Nadel, “Portraits of the Queen,” 170.

[100] “Queen Victoria (1819-1901),” Royal Collection Trust,  https://www.rct.uk/collection/404388/queen-victoria-1819-1901-0.

[101] J. Edgcumbe Staley, British Painters, Their Story and Their Art (New York: Frederic A Stokes Company, 1913), 257.

[102] Jeffrey A. Auerbach, The Great Exhibition of 1851: A Nation on Display (New Haven: Yale University Press, 1999), 23

[103] Wolfram Kaiser, “Cultural Transfer of Free Trade at the World Exhibitions, 1851-1862,” The Journal of Modern History 77, no. 3 (September 2005:) 564.

[104] Anthony Daly, “Great Exhibition of 1851,” The British Empire: A Historical Encyclopedia, 2018.

[105] Kaiser, “Cultural Transfer of Free Trade at the World Exhibitions,” 565.

[106] Vanessa Remington, “Queen Victoria, Prince Albert, and their relations with artists,” in Victoria & Albert: Art & Love, ed. Susanna Avery-Quash (London: Royal Collection Trust, 2012), 2.

[107] Marsden, Victoria and Albert, Art and Love, 46.

[108] Marsden, Victoria and Albert, Art and Love, 47.

[109] Avery-Quash, “Incessant Personal Exertions and Comprehensive Artistic knowledge,” in Victoria & Albert: Art and Love, 8.

[110] Lionel Cust, “The Royal Collections. Article I-H. R. H. Prince Albert as an Art Collector,” Burlington Magazine 5, no. 13, (1904): 9.

[111] Avery-Quash, “Incessant personal exertions and comprehensive artistic knowledge,” 9.

[112] Avery-Quash, “Incessant personal exertions comprehensive artistic knowledge,” 3.

[113] Avery-Quash, “Incessant Personal Exertions and Comprehensive Artistic knowledge,” 12-13.