Table Of ContentReplication in the Long
Nineteenth Century
Re-makings and Reproductions
Edited by Julie Codell and
Linda K. Hughes
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© editorial matter and organisation Julie Codell and Linda K. Hughes, 2018
© the chapters their several authors, 2018
Edinburgh University Press Ltd
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The right of Julie Codell and Linda K. Hughes to be identifi ed as the editors of this work
has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the
Copyright and Related Rights Regulations 2003 (SI No. 2498).
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Contents
List of Illustrations v
Acknowledgments ix
1. Introduction: Replication in the Long Nineteenth
Century – Re-makings and Reproductions 1
Julie Codell and Linda K. Hughes
I. Replication and Networks
2. Replication of Things: The Case for Composite
Biographical Approaches 23
Sally M. Foster
3. Transatlantic Autograph Replicas and the Uplifting
of American Culture 46
Julie Codell
4. “Petty Larceny” and “Manufactured Science”:
Nineteenth-Century Parasitology and the
Politics of Replication 67
Emilie Taylor-Brown
5. Portraying and Performing the Copy, c. 1900 84
Dorothy Moss
II. Replication and Technology
6. Replicating Tennyson’s The Princess, 1847–1853 103
Linda K. Hughes
7. Paisley / Kashmir: Mapping the Imitation-Indian Shawl 122
Suzanne Daly
8. William Morris and the Form and Politics of Replication 144
Elizabeth Carolyn Miller
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iv Contents
9. Text and Media Replication During the
U.S.–Mexican War, 1846–1848 162
Kathryn Ledbetter
III. Replication and Authenticity
10. Literary Replication and the Making of a Scientifi c
“Fact”: Richard Owen’s Discovery of the Dinornis 181
Gowan Dawson
11. Copying from Nature: Biological Replication and
Fraudulent Imposture in Grant Allen’s
An African Millionaire 195
Will Abberley
12. The Failure of Replication in Nineteenth-Century
Literature: Why It All Just Comes Out Wrong 213
Daniel Bivona
IV. Replication and Time
13. “Seeking Nothing and Finding It”: Moving On and
Staying Put in Mugby Junction 231
James Mussell
14. The Origins of Replication in Science 248
Ryan D. Tweney
15. Fathers, Sons, Beetles, and “a family of hypotheses”:
Replication, Variation, and Information in Gregory
Bateson’s Reading of William Bateson’s Rule 269
David Amigoni
16. Afterword: The Implications of Nineteenth-Century
Replication Culture 289
Julie Codell and Linda K. Hughes
Notes on Contributors 294
Index 299
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List of Illustrations
1.1 Charles Couët Dreschler, Roll-top desk, Copy of the
bureau du roi of Louis XV, c. 1855–60. Oak, sycamore,
ebony, box, amaranth, Sèvres biscuit porcelain plaques
gilt-bronze, leather, satiné, steel, brass, and enamel.
143 × 183 × 97.5 cm. © The Wallace Collection. 2
2.1 The Cast Court at the Victoria and Albert Museum
opened in 1873, one of the most famous and infl uential
examples of assembling plaster casts of sculpture for
display to the public. Muiredach’s Cross, Clonmacnoise,
with the Ruthwell Cross in the background. By Permission
of Victoria and Albert Museum, London. 25
2.2 Composite biography of the St. Andrews Sarcophagus and
its plaster casts. Graphic by Christina Unwin, © S. Foster,
incorporating images by permission of B. Keeling; S. Foster;
© Courtesy of Historic Environment Scotland (Artist
Alexander Archer) Licensor canmore.org.uk; © National
Museums Scotland; © Edinburgh University Library,
Special Collections Department. 32
2.3 Aberdeen’s Sculpture Gallery of plaster casts opened in
1905 to widespread critical claim. The Celtic Court was
an important element of this, designed specifi cally to
improve the quality of the local granite carving industry.
By permission of Aberdeen Art Gallery & Museums
Collections. 34
2.4 The curators Joseph Anderson and George Black amid
the replicas (such as the Kildalton Cross, right),
carved stones, and other antiquities on display in the
National Museum of Antiquities of Scotland in George
Street, Edinburgh, shortly before its transfer in
1892 to Queen Street. © National Museums Scotland. 37
3.1 Jean-Auguste-Dominique Ingres, The Betrothal of Raphael
and the Niece of Cardinal Bibbiena, 1813–14. Oil on
paper mounted on canvas. 23¼ × 185⁄ in. The Walters Art
16
Museum, Baltimore. Acquired by Henry Walters, 1903. 53
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vi Replication in the Long Nineteenth Century
3.2 Jean-Auguste-Dominique Ingres, The Betrothal of Raphael
and the Niece of Cardinal Bibbiena, 1864. Graphite,
watercolor, and white gouache on tracing paper, laid down.
713⁄ × 65⁄ in. Harvard Art Museums / Fogg Museum, Bequest
16 16
of Grenville L. Winthrop, 1943.374 . Photo: Imaging
Department © President and Fellows of Harvard College. 54
3.3 Jean-Auguste-Dominique Ingres; Jean-Paul Flandrin,
Odalisque with Slave, 1842. Oil on canvas. 2915⁄ × 415⁄ in.
16 16
The Walters Art Museum, Baltimore. Acquired
by Henry Walters, 1925. 54
3.4 Jean-Auguste-Dominique Ingres, Odalisque with a Slave,
1839–40. Oil on canvas. 283⁄ × 39 ½ in. Harvard
8
Art Museums / Fogg Museum, Bequest of Grenville L.
Winthrop, 1943.251. Photo: Imaging Department
© President and Fellows of Harvard College. 55
5.1 William Merritt Chase in his Tenth Street studio, New
York City, with copies after Hals, Velázquez, and other
Old Masters on the wall, c. 1895. Albumen print,
4½ × 75⁄ in. The William Merritt Chase Archives,
8
Parrish Art Museum, Water Mill, N.Y., Gift of
Jackson Chase Storm, 83.Stm.41. 85
5.2 Helen Posed as Velázquez’s INFANTA behind a frame for a
tableau vivant with William Merritt Chase adjusting the frame,
c. 1899. Gelatin printing-out paper, 3½ × 3½ in. The William
Merritt Chase Archives, Parrish Art Museum, Water Mill,
N.Y., Gift of Mrs. A. Byrd McDowell, 77.mc.56. 85
5.3 “Famous Paintings Reproduced from Life in the
Recent Art Tableaux at Philadelphia,” Harper’s Weekly,
March 11, 1905. Photomechanical print after photograph
by William Merritt Chase, 1905. Current location of
photograph unknown. 87
5.4 Students performing The Rose and the Ring, Halloween.
From the photograph album of Agnes Jeffrey. Creator
unknown. College Archives, Smith College
(Northampton, Massachusetts). 94
6.1 Dedication page, The Princess, 1848. Courtesy of
Special Collections, Mary Couts Burnett Library,
Texas Christian University. 107
6.2 “Prologue,” decorative format, The Princess, 1848.
Courtesy of Special Collections, Mary Couts Burnett
Library, Texas Christian University. 112
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List of Illustrations vii
6.3 “Prologue,” decorative format, The Princess, 1850.
Courtesy of Special Collections, Mary Couts Burnett
Library, Texas Christian University. 112
6.4 Inserted lyric, “Sweet and low,” The Princess, 1850.
Courtesy of Special Collections, Mary Couts Burnett
Library, Texas Christian University. 113
7.1 Handwoven Kashmiri shawl with classic boteh pattern,
early nineteenth century. © Victoria and Albert Museum,
London. 123
7.2 Handwoven Kashmiri shawl, early nineteenth century.
© Victoria and Albert Museum, London. 125
7.3 Woven pieced shawl, probably made in Paisley
between 1827 and 1833. © Victoria and Albert
Museum, London. 127
7.4 Woven wool and silk shawl manufactured by James
Barton, Paisley, c. 1826. © Victoria and Albert
Museum, London. 127
8.1 William Morris, Honeysuckle, 1876, block-printed
fabric. © Victoria and Albert Museum, London. 145
8.2 William Morris, Acanthus, 1875, block-printed wallpaper.
© Victoria and Albert Museum, London. 150
8.3 William Morris, Strawberry Thief, 1883, block-printed
fabric. © Victoria and Albert Museum, London. 150
8.4 William Morris, Kelmscott Press edition of John Ruskin,
The Nature of Gothic, 1892. Robert Coupe Collection,
Simon Fraser University Special Collections and
Rare Books. 151
9.1 “War News from Mexico,” lithograph after an 1848
painting by Richard Caton Woodville. Library of
Congress, OC-DIG-pga-03891. 164
9.2 “Battle of Resaca de la Palma May 9th 1846”
by Nathaniel Currier, 1846. 2004.D03.174. Michele
and Donald D’Amour Museum of Fine Arts, Springfi eld,
Massachusetts. Gift of Lenore B. and Sidney A. Alpert,
supplemented with Museum Acquisition Funds.
Photography by David Stansbury. 169
9.3 “The Capture of General Vega, in the act of discharging
a cannon, by the gallant Capt. May of the U.S. Army,
during the engagement of the 9th of May.” Lithograph
by Sarony and Major, 1846. Library of Congress,
PGA-Sarony–Capture of General Vega. 171
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viii Replication in the Long Nineteenth Century
9.4 Focus scene replicating Sarony and Major lithograph on
one side of the Winedale comforter textile, c. 1848.
Photo by author, courtesy of the Winedale Quilt
Collection, the Dolph Briscoe Center for American
History, University of Texas at Austin. W2H22.72. 174
9.5 Replicated patchwork displayed on textile of the alternate
side of the Winedale comforter, c. 1848. Photo by author,
courtesy of the Winedale Quilt Collection, the Dolph
Briscoe Center for American History, University of
Texas at Austin. W2H22.72. 176
13.1 First page of Mugby Junction showing the list of
contributors and the beginning of “Barbox Brothers”
(1866). Reproduced by permission of the Cadbury
Research Library: Special Collections, University of
Birmingham. 233
14.1 Faraday’s fi rst notebook sketches of the motion of a
magnetized needle near a current-carrying wire (Faraday,
September 1821). Quarto Volume 1 of Manuscript,
RI MS F3 A, by courtesy of the Royal Institution of
Great Britain. 249
14.2 Faraday’s notebook sketch of a possible apparatus
(Faraday, September 1821). Quarto Volume 1 of
Manuscript, RI MS F3 A, by courtesy of the Royal
Institution of Great Britain. 249
14.3 Faraday’s lecture-demonstration apparatus. The cups
are fi lled with mercury. The left side shows a magnet
rota ting around a current-carrying wire; the right side
shows a current-carrying wire rotating around a magnet
(Faraday 1822/1844, Plate IV). 250
14.4 Faraday’s small demonstration apparatus, sent to
correspondents (Faraday 1822/1844, Plate IV). 250
15.1 Carabus scheidleri. From William Bateson, Materials
for the Study of Variation (1894), p. 483. Reproduced by
kind permission of the Syndics of Cambridge University
Library, Special Collections, MA.15.54. 271
15.2 William Bateson’s mechanical device for showing the
relations that extra legs in symmetry bear to each other
and the normal legs from which they arise. From William
Bateson, Materials for the Study of Variation (1894),
p. 480. Reproduced by kind permission of the Syndics of
the Cambridge University Library, Special Collections,
MA.15.54. 278
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Acknowledgments
We wish to thank our respective institutions for their support of this
project from the beginning to now, and the archive staff who assisted
our research.
Julie would like to acknowledge funding support from the Insti-
tute for Humanities Research (IHR) and the Herberger Institute
for Design and the Arts (HIDA), both at Arizona State University,
which permitted her to visit collections, gather research material,
and write. The IHR supported her research with a collaborative
project seed grant for research and travel and helped arrange her
lecture series on replicas, Fall 2016. The HIDA supported her
research with three project and seed grants for various stages of
this project’s research. She would also like to thank the many cura-
tors and archivists for their assistance and permission to cite archi-
val documents: Jo Briggs, curator, and Diane Bockrath, archivist
and librarian, Walters Museum; Mary Lister, study center manager,
Megan Schwenke, archivist / records manager, and Tara Cerretani,
study center staff, Harvard Art Museums; Jim Moske, Metropoli-
tan Museum; Angela Fuller, Taft Museum of Art; Peter Nahum;
Suzan D. Friedlander, Arkell Museum; Emily Rice and Jane Joe,
Philadelphia Museum of Art; and Alison Smith, Tate Britain curator
of nineteenth-century art, with whom Julie co-organized a July 11,
2016, British Art Network Seminar on Victorian artists’ autograph
replicas, as well as the presenters and audience at that seminar.
Thanks go to colleagues who shared suggestions and helpful com-
ments on her presentations on replicas at conferences: Victorians
Institute, Christie’s Education Department in London, and Susan
Bracken and Adriana Turpin, organizers of the 2016 conference
on art agents. And thanks to my partner, Ted Solis, for his support.
Linda extends warmest thanks to Susan Swain, library specialist,
Special Collections, Mary Couts Burnett Library, Texas Christian Uni-
versity (TCU), for creating images of Tennyson’s versions of The Prin-
cess from materials in the library’s permanent collection; and to Merry
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