ford madox brown - eTheses Repository - University of Birmingham

explained his inclusion of the archaic nimbuses saying that 'the golden Aurioles or
ded to represent facts but rather that traditional glory which for all
ties in the divine drama or
b
cording to the most recently received archaeological views.' Thomas
o use photography to transfer designs onto the boxwood
ok produced using his new method of wood
ngraving was the first volume of Lyra Germanica published in 1861. 146 Nimbuses are not inten
good Christians attaches to certain of the great personali
legend.'
This new
draw directly onto
gns during the engraving process, he was able to
oubt this was his motivation for making the detailed
144 He also revealed his dedication to historical accuracy noting that ‘the tom
145
itself is formed ac
Bolton was the first engraver t
blocks used in book illustration. The first bo
e
application of technology suited Brown because rather than having to
the block, and therefore lose his desi
keep them and sell them later. No d
pen and ink drawing of The Entombment (cat. no. 93).
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Cat. no. 95 Male: Sketch of Man reclining on Steps with Hands bound together, 1844
Brown
pen and ink over pencil; 242 x 225 mm
Insc. br.: (Paris)/F. M. Brown/44
Lit.: Whitley, p. 47; Ford
Madox Brown: The Unofficial Pre-Raphaelite, p. 67
Prov.: Charles Fairfax Murray
Presented by Subscribers, 1906 (1906P724)
y Mary Bennett stated that this sketch was related to the
of Justice. 147 In conversation with Tessa Side
figure of Wisdom in the cartoon The Spirit
The date would certainly be
appropriate
but no figure in that design resembles this man reclining on steps. The
medium and subject matter of a naked, captive man show Brown's interest in the
Romantic depiction of prisoners which was popularised in England by Fuseli and his
circle, and later in France by Delacroix. 148
Cat. no. 96 Male: Academic nude Study, half-length with Moustache and Arms folded,
1846 - 1849
Black chalk, 172 x 142mm
Lit.: Whitley, p.48
Exh.: Exposed: The Victorian Nude, Tate, London, 2001 - 02 (25); Ford Madox Brown:
The Unofficial Pre-Raphaelite (11)
Prov.: Charles Fairfax Murray
Presented by Subscribers, 1906 (1906P708)
144
A note written by the artist for Charles Rowley, post 1883, Horsfall Papers, Manchester Art Gallery
quoted in Op. cit. at note 59, p. 215.
145 Ibid.
146 nd
This is according to Henry Bohn (John Jackson and W. Chatto, A Treatise on Wood Engraving, 2 ed.,
with a new chapter by Henry Bohn 1861, p. 577, discussed in Paul Goldman, Victorian Illustrated Books:
1850-1870, London, 1994, p. 42.
147
Op. cit. at note
7, p. 67.
148
See chapter
one.
258