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Published online by Cambridge University Press: 13 April 2011
In his collection of essays Music and Morals (1871), music critic the Rev. H.R. Haweis devoted several pages to the relationship between music and memory. Like many of his contemporaries, he believed that music could trigger recollections in acute and intense ways. He suggested that there are ‘many mediums which connect us vividly with the past but for freshness and suddenness and power over memory’ the sense of hearing is paramount. He imagines a middle-aged woman caught unawares by a few bars of music.
1 Haweis, H.R., Music and Morals (London, 1871), 106–7.Google Scholar
2 Ibid., 107.
3 Ibid., 33.
4 Rousseau, Jean-Jacques, ‘Essai sur l'origine des langues’Google Scholar , in Junod, Philippe, ‘The New Paragone: Paradoxes and Contradictions of Pictorial Musicalism’, in The Arts En-twined, ed. Morton, Marsha L. and Schmunk, Peter L. (New York and London, 2000), 25Google Scholar.
5 The Graham Piano (1879–80, Private Collection) was decorated by Burne-Jones. He designed the images originally in 1872 as illustrations to William Morris's poem The Story of Orpheus and Eurydice. His pencil designs are now in the Ashmolean Museum, Oxford.
6 Examples of seventeenth-century Dutch still-lives, incorportating musical instruments as vanitas symbols, could be found in many Victorian collections. These included Still Life: An Allegory of the Vanities of Human Life (Harmen Steenwyck, oil on oak, c.1640),Google Scholar featuring a lute and a flute, presented to the National Gallery, London by Baron Savile, 1888 or Vanitas Still Life (Jan Janz. Treck, oil on oak, 1648)Google Scholar , featuring a lute, bought by the Liverpool merchant Robert Philip Wood (1818–1898), now in the National Gallery, London.
7 Richard Leppert discusses the potential visual analogy between musical instrument cases (rather than the instruments themselves) and coffins in The Sight of Sound: Music, Representation and the History of the Body (California and London, 1993), xxivGoogle Scholar.
8 Junod, Philippe, ‘The New Paragone: Paradoxes and Contradictions of Pictorial Musicalism’, in The Arts Entwined, ed. Morton, and Schmunk, , 27.Google Scholar
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10 Ruskin, John, quoted by Bronkhurst, Judith in Gallery, Tate, The Pre-Raphaelites (London, 1984).Google Scholar
11 Rossetti, D.G. in a letter to Edmund Bates, quoted in Delaware Art Museum, The Samuel and Mary R. Bancroft, Jr. and Related Pre-Raphaelite Collections (Delaware, c.1978), 112.Google Scholar
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13 Freud's text, On the Interpretation of Dreams, published in 1900, formalized a debate that had been active both in Britain and on the Continent, concerning the nature of the relationship between the conscious and unconscious mind. The issue of the ‘unconscious’, for example, had been raised by Goethe in the early nineteenth century.
14 Carlyle, Thomas, On Heroes and Hero Worship, 1852,Google Scholar quoted in Morton, Marsha L., ‘“From the Other Side”: An Introduction’, in The Arts Entwined, ed. Morton and Schmunk, 5Google Scholar.
15 Baudelaire, Charles, ‘Richard Wagner and Tannhäuser in Paris’, 1861 in The Painter of Modern Life and Other Essays, trans. and ed. Mayne, Jonathan (London, 1995), 137, 133.Google Scholar
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17 Ruskin, John, quoted in Edward Burne-Jones: Victorian Artist-Dreamer, ed. Wildman, S. and Christian, J. (New York, 1998) 162.Google Scholar
18 The Rubaiyat of Omar Khayyam, trans. Fitzgerald, Edward (1859), first edition, stanza 72Google Scholar
19 In the 1860s this painting by Vermeer was in the collection of Théophile Etienne Joseph Thoré in Paris. It was he who suggested that Whistler's picture would ‘go well with my Van de Meer der Delft and other masters’. Quoted in Dorment, Richard and Macdonald, Margaret F., James McNeill Whistler (Washington and London, 1994), 72Google Scholar . Whistler could have seen several Vermeer paintings during his visit in 1857 to the Manchester Art Treasures Exhibition.
20 Ibid., 73.
21 Ibid., 73.
22 This interpretation could be reinforced when we compare Whistler's painting with works such as Rossetti's The Maids of Elfenmere (1855, wood engraving, Victoria and Albert Museum), in which unearthly female figures appear, singing, as if in a vision or dream. Dicksee's The Reverie (1895, oil on canvas, Museums and Galleries on Mersey-side) makes an even more explicit link between a piano performance and the appearance of a female ghost.
23 Castagnary, J.-A., quoted in Spencer, Robin, ‘Whistler's “The White Girl”: painting, poetry and meaning’, Burlington, 1142 (May 1998), 309.Google Scholar
24 Ibid., 302.
25 Ibid., 302.
26 Mantz, Paul, ‘Gazette des Beaux-Arts’, quoted in Dorment and Macdonald, James McNeill Whistler, 77.Google Scholar
27 Desnoyers, Fernand, quoted in Spencer, ‘Whistler's “The White Girl”’, 308.Google Scholar
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29 Thoré-Bürger, Ibid., 308.
30 Schopenhauer, Arthur, The World as Will and Representation, vol.1, 1819Google Scholar , quoted in Morton, Marsha L., ‘“From the Other Side” An Introduction’, in The Arts Entwined, ed. Morton, and Schmunk, , 5Google Scholar.
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33 Ibid., 209.
34 Ibid., 209.
35 The original frame no longer exists, but it is known from photographs. See Gallery, Tate, The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain, 1860–1910 (London, 1997), fig.22, p.39Google Scholar.
36 Dorment, and Macdonald, , James McNeill Whistler, 78.Google Scholar
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41 This painting had been in a private collection in Yorkshire since 1813.
42 Mme Viardot, the star of this revived production, was a friend of Frederic Leighton, and she also performed extracts from the opera at George Eliot's house, in the presence of Edward Burne-Jones. See Burne-Jones, Georgiana, Memorials of Edward Burne-Jones (London, 1904 and new edition London, 1993), vol.II, 17Google Scholar.
43 Royal Academy of Arts, London, Frederic Leighton (New York, 1996), 29Google Scholar . Other versions of the Orpheus legend were painted by contemporaries: Watts, G.F. explored the subject several times from the 1860s, and exhibited an oil Orpheus and Eurydice at the Grosvenor Gallery in 1879 (now in a private collection in India).Google Scholar D.G. Rossetti was also attracted to the theme. In the 1870s he worked on a complex composition of Pluto, Proserpine and Eurydice listening to Orpheus's playing (c.1875, pencil, British Museum, no. 1910–12–10–9).
44 The painting was taken off its stretcher after the Academy exhibition, and ‘consigned … to oblivion during his lifetime in the dark recess of a cellar’. It has been lost since 1945: see Royal Academy of Arts, Leighton, 108.
45 ‘The Art Journal’, 1 June 1856, 172, reprinted in Royal Academy of Arts, Leighton, 108.
46 Ibid., 108.
47 Geiringer, Karl, Instruments in the History of Western Music (London, revised edition 1978), 35 and plate III.Google Scholar
48 Ibid., 35.
49 The Times, 30 April 1892, in Royal Academy of Arts, Leighton, 233.
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55 Ibid., vol. I, 36.
56 Ibid., vol. II, 261, see reference in Corbett, David Peters, ‘Visuality and Unmediation in Burne-Jones's Laus Veneris’, Art History, 24/1 (Feb. 2001): 87Google Scholar.
57 Ibid., vol. II, 261.
58 Royal Academy of Arts , Burne-Jones, , Memorials, vol. II, 261Google Scholar.
59 Corbett, ‘Visuality and Unmediation in Burne-Jones's Laus Veneris’, 86.
60 Ibid., 88.
61 Kant, Immanuel, ‘Kritik der Urteilskraft’, 1790, quoted in The Arts Entwined, ed. Morton, and Schmunk, , 3.Google Scholar
62 Bachelard, Gaston, L'Eau et les rêves (Paris, 1942), 99.Google Scholar
63 Illustrated in Tate Gallery, Symbolism in Britain, cat. 39, 146.
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75 Ibid., vol. II, 341.
76 Rossetti, Dante Gabriel, Poems and Translations 1850–1870 (Oxford, 1968), 98Google Scholar . The poem was written in 1847 and first published in 1850.
77 Young, quoted in Shaw-Miller, Simon, Visible Deeds of Music: Art and Music from Wagner to Cage (Yale, 2002), 226CrossRefGoogle Scholar.
78 Ibid., 226.
79 Whistler, James McNeill, The Gentle Art of Making Enemies (New York, new edition 1892; this edition 1967), 116.Google Scholar
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