By Felix Klein
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Paris: Ladvocat, 1831–34. 133–55. Powell, Kerry. Women and Victorian Theatre. Cambridge: Cambridge University Press, 1997. Prescott, Sarah. Women, Authorship and Literary Culture, 1690–1740. Basingstoke: Palgrave, 2003. K. Women and Philanthropy in Nineteenth-Century England. Oxford: Clarendon, 1980. Purnell, Thomas. ‘Woman, and Art: The Female School of Design’. Art Journal 76 (1861): 107–8. J. Professional Men: The Rise of the Professional Classes in Nineteenth-Century England. London: Weidenfeld & Nicolson, 1966.
Aurora Leigh. Ed. Kerry McSweeney. Oxford: Oxford University Press, 1993. , and Linda H. Peterson, eds. A Struggle for Fame: Victorian Women Artists and Authors. New Haven: Yale Center for British Art, 1994. Cherry, Deborah. Painting Women: Victorian Women Artists. London: Routledge, 1993. Cluckie, Linda. The Rise and Fall of Art Needlework: Its Socio-Economic and Cultural Aspects. Bury St. Edmunds: Arena Books, 2008. Codell, Julie F. The Victorian Artist: Artists’ Lifewritings in Britain, ca. 1870–1910.
Indeed, women’s own bodies began to be in intimate contact with the triumphs of the machine age. James Laver describes the crinoline as ‘the first great triumph of the machine age’ – ‘the application to feminine costume of all those principles of steel construction employed in the Menai Bridge and the Crystal Palace’ (quoted in Briggs 26). In advances in corset design, new dyes, machine-made lace, false hair and all the other innovations of the period, the mid-Victorian beautiful body was itself a triumph of manufacturing.