2 10 61 https://nineteenthcenturydisability.org/files/original/a89573cec699a528200dc6506da1cebe.jpg cf4c32583edb0dffa4e7ecaa4ee7ea10 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 535 Height 800 Bit Depth 8 Channels 3 IPTC String caption:by Henry Meyer, published by Henry Colburn, after Richard Carruthers, stipple engraving, published 1 February 1819 caption_writer:National Portrait Gallery London - www.npg.org.uk headline:NPG D8807; William Wordsworth by Henry Meyer, published by Henry Colburn, after Richard Carruthers special_instructions:Unauthorised reproduction prohibited. For authorisation contact rightsandimages@npg.org.uk www.npg.org.uk byline:National Portrait Gallery London - www.npg.org.uk byline_title:Rights and Images Department credit:National Portrait Gallery London source:National Portrait Gallery London object_name:NPG D8807; William Wordsworth date_created:04.05.2012 city:London, St Martin's Place, WC2 0HE country:United Kingdom copyright_notice:© National Portrait Gallery, London IPTC Array a:13:{s:7:"caption";s:116:"by Henry Meyer, published by Henry Colburn, after Richard Carruthers, stipple engraving, published 1 February 1819";s:14:"caption_writer";s:49:"National Portrait Gallery London - www.npg.org.uk";s:8:"headline";s:100:"NPG D8807; William Wordsworth by Henry Meyer, published by Henry Colburn, after Richard Carruthers";s:20:"special_instructions";s:105:"Unauthorised reproduction prohibited. For authorisation contact rightsandimages@npg.org.uk www.npg.org.uk";s:6:"byline";s:49:"National Portrait Gallery London - www.npg.org.uk";s:12:"byline_title";s:28:"Rights and Images Department";s:6:"credit";s:32:"National Portrait Gallery London";s:6:"source";s:32:"National Portrait Gallery London";s:11:"object_name";s:29:"NPG D8807; William Wordsworth";s:12:"date_created";s:10:"04.05.2012";s:4:"city";s:34:"London, St Martin's Place, WC2 0HE";s:7:"country";s:14:"United Kingdom";s:16:"copyright_notice";s:36:"© National Portrait Gallery, London";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Wordsworth adopts a pensive pose, with his head resting on his hand, in this stipple engraving. William Wordsworth by Henry Meyer, published by Henry Colburn, after Richard Carruthers. stipple engraving, published 1 February 1819. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1798 to 1837 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. …lost Amid the moving pageant, ‘twas my chance Abruptly to be smitten with the view Of a blind Beggar, who, with upright face, Stood propp’d against a Wall, upon his Chest Wearing a written paper, to explain The story of the Man, and who he was. My mind did at this spectacle turn round As with the might of waters, and it seem’d To me that in this Label was a type Or emblem, of the utmost that we know, Both of ourselves and of the universe; And, on the shape of the unmoving man, His fixed face and sightless eyes, I look’d As if admonish’d from another world. (1805, VII. 608-622) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Prelude Description An account of the resource <a title="Wordsworth Wikipedia Entry" href="http://en.wikipedia.org/wiki/William_Wordsworth" target="_blank">William Wordsworth</a>’s (1770-1850) poetry contains several interesting and largely unexplored representations of disability. One familiar pattern, seen in “Resolution and Independence” (1807) has the speaker of Wordsworth’s poem encountering a person with a disability and using the encounter as a spur to personal reflection. In Book VII of his autobiographical epic poem, The Prelude (1805, 1850), Wordsworth gives a detailed description of an encounter with a blind beggar. The blind man, who stands “propp’d against a Wall,” is a visual spectacle for Wordsworth’s speaker, who describes himself as “smitten with the view.” The portrait of the beggar that he provides emphasizes the blind man’s passivity and immobility; this man is “propp’d against a Wall,” his body “unmoving” and his face “fixed.” What matters most to the sighted speaker about the blind man he observes and describes is the sign or “Label” that the blind man wears, a record of “the story of the Man, and who he was.” It is not, however, the content of this sign that is of interest to the speaker. Instead, the sign is identified and valued as a symbol of a universal condition; Wordsworth finds in it a “type/ Or emblem” of the profound ignorance of human beings. His speaker has gained new knowledge about, ironically enough, humanity’s lack of knowledge, but he does not come away with new knowledge about either the experience of disability or the particular experiences of an individual living with a disability. This stands in contrast to Arthur Symon’s (1865-1945) later contribution to the genre of the poetic encounter with a blind street person, “The Blind Beggar” (1892), which leads him to reflect on the material conditions of the disabled poor. Creator An entity primarily responsible for making the resource Wordsworth, William Source A related resource from which the described resource is derived Wordsworth, William. The Prelude: A Parallel Text. Ed. Ernest de Selincourt. 2nd ed. Oxford: Clarendon, 1959. Date A point or period of time associated with an event in the lifecycle of the resource 1805 Contributor An entity responsible for making contributions to the resource Vanessa Warne Rights Information about rights held in and over the resource Wordsworth adopts a pensive pose, with his head resting on his hand, in this stipple engraving. William Wordsworth by Henry Meyer, published by Henry Colburn, after Richard Carruthers. stipple engraving, published 1 February 1819. Courtesy <a title="National Portrait Gallery" href="http://www.npg.org.uk/" target="_blank">National Portrait Gallery</a> under a Creative Commons License (<a title="William Wordsworth" href="http://www.npg.org.uk/collections/search/portrait/mw42777/William-Wordsworth?LinkID=mp04931&search=sas&sText=william+wordsworth&role=sit&rNo=13" target="_blank">NPG D8807</a>). Relation A related resource <ul><li>Bowlby, Rachel. “Readable City.” PMLA 122:1 (2007): 306-9. </li> <li>Epstein Kobayashi, Emily V. “Feeling Intellect in Aurora Leigh and The Prelude.” SEL 51:4 (2011): 823-848. </li> <li>Friedman, Geraldine. “History in the Background in Wordsworth’s ‘Blind Beggar.’” ELH 56:1 (1989): 125-148. </li> <li>Symons, Arthur. <a title="Symon's "The Blind Beggar"" href="http://www.nineteenthcenturydisability.org/items/show/12">“The Blind Beggar.”</a> Annotated by Vanessa Warne. Nineteenth-Century Disability: A Digital Reader. </li> <li><a title="Wordsworth Trust" href="https://www.wordsworth.org.uk/home.html" target="_blank">The Wordsworth Trust</a>. https://www.wordsworth.org.uk/home.html</li> </ul> Blindness Class Literature Poetry William Wordsworth https://nineteenthcenturydisability.org/files/original/78e981d9936899a347106d72adaef088.jpg 7b203ac401640e93e2df0502b6633d77 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 378 Height 532 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:V0015892 A blind beggar walks past two figures guided by his dog headline:V0015892 A blind beggar walks past two figures guided by his dog with caption:V0015892 A blind beggar walks past two figures guided by his dog with Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A blind beggar walks past two figures guided by his dog with a begging bowl. Etching by J.T. Smith, 1816. 1816 By: John Thomas SmithPublished: 30 April 1816 Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:64:"V0015892 A blind beggar walks past two figures guided by his dog";s:8:"headline";s:69:"V0015892 A blind beggar walks past two figures guided by his dog with";s:7:"caption";s:452:"V0015892 A blind beggar walks past two figures guided by his dog with Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A blind beggar walks past two figures guided by his dog with a begging bowl. Etching by J.T. Smith, 1816. 1816 By: John Thomas SmithPublished: 30 April 1816 Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In this black and white etching, a blind beggar walks past two figures guided by his dog, who carries a begging bowl. Etching by J.T. Smith, 1816. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1880 to 1901 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. He stands, a patient figure, where the crowd Heaves to and fro; a sound is in his ears As of a vexed sea roaring, and he hears In darkness, as a dead man in his shroud. Patient he stands, with age and sorrow bowed, And holds a piteous hat of ancient years; And in his face and gesture there appears The desperate humbleness of poor men proud What thoughts are his, as, with the inward sight, He sees the glad unheeding Fair go by? Is the long darkness darker for that light And sorrow nearer when such mirth is nigh? Patient, alone, he stands from morn to night, Pleading in his reproachful misery. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'The Blind Beggar' Description An account of the resource When <a title="Arthur Symons Wikipedia" href="http://en.wikipedia.org/wiki/Arthur_Symons" target="_blank">Arthur Symons</a> (1865-1945) published his sonnet “The Blind Beggar” in 1892, he added to an already large body of literature that links the experience of visual disability with begging.  Noteworthy among texts from the period that portray blind beggars is William Wordsworth’s posthumously published autobiographical poem <a title="The Prelude" href="http://www.nineteenthcenturydisability.org/items/show/11" target="_self">The Prelude</a> (1805, 1850). Whereas Wordsworth’s sighted speaker experiences an epiphany about the limitations of human knowledge while looking at a blind man, Symons’ speaker is far less assured and comes away from his encounter with a blind beggar with questions instead of answers.  Whereas for Wordsworth’s speaker, the blind man is useful both for how he prompts the speaker to greater insight and for the way in which he conveniently embodies human experience, for Symons’ speaker, the encounter with a blind man prompts him to wonder about the mental and emotional life of the blind man and about the blind man’s experience of social isolation.  Interested both in the experience of sensory disability and in the social marginalization and financial dependency that the poem attributes to the beggar’s disability, the speaker leaves the questions he asks unanswered.   He produces, nonetheless, a detailed, predictable and problematic portrait of the blind beggar.  The beggar, who is characterized by both the poem’s final word, “misery,” and by the thrice-repeated adjective “patient,” is isolated from the carefree crowd, described as “the glad unheeding Fair.”  Symons’ characterization of the blind man as passive is most apparent, and most troubling, in a simile that compares the blind man to a corpse.  Imagining the sensory experiences of a blind person, Symons’ speaker proposes that the blind man “hears/ In darkness, as a dead man in his shroud.”  While the simile enacts a doubling of the blind man’s disability, suggesting that the blind man can neither see nor hear, it is most remarkable for its disturbing identification of disability with death.  The poem, characterized by its mix of dehumanizing and empathetic statements, is usefully read in relation not only to other poems that feature blind beggars but also in relation to prose commentaries on the presence of blind beggars in nineteenth-century city streets.  When Charles Lamb defended the rights of blind beggars in his 1822 essay “A Complaint of the Decay of Beggars in the Metropolis,” he argued against campaigns to remove blind beggars from the streets, asserting that the claims being made on private charity by visually disabled men were legitimate and that freedom of movement and social contact with a wider community were highly valued by, and beneficial to, people with visual disabilities.  In contrast, Andrew Halliday, writing in Volume 4 of London Labour and the London Poor (1851-1861), commended the London Mendicity Society, an organization whose aim was to bring an end to public begging, in part by encouraging police to arrest street beggars.  While Halliday views “blind men and cripples” as having a more legitimate claim than most beggars to public sympathy and charity, he is ill at ease with the presence of some beggars in public places.  He writes: “The officers of the Mendicity Society have cleared the streets of nearly all the impostors, and the few who remain are blind men and cripples […] I cannot think, however, that the police exercise a wise discretion in permitting some of the more hideous of these beggars to infest the street” (4:431-3). Focused on a personage who was arguably the public face of visual disability in the nineteenth century, the blind street beggar, Symons’ sonnet contributed not only to a well-established literary tradition of linking blindness with begging but also to an important and ongoing debate about begging, charitable giving and the presence of impoverished visually disabled people on Britain’s public streets. Creator An entity primarily responsible for making the resource Symons, Arthur Source A related resource from which the described resource is derived Symons, Arthur “The Blind Beggar” (1892). Poems by Arthur Symons. Vol. 1. London: Heinemann, 1927. Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Vanessa Warne Rights Information about rights held in and over the resource In this black and white etching, a blind beggar walks past two figures guided by his dog, who carries a begging bowl. Etching by J.T. Smith, 1816. Courtesy <a title="Wellcome Images" href="http://images.wellcome.ac.uk/" target="_blank">Wellcome Library, London</a> under a Creative Commons License (<a title="Wellcome Library" href="http://catalogue.wellcomelibrary.org/record=b1174340" target="_blank">Wellcome Library no. 16453i</a>). Relation A related resource <ul> <li>Lamb, Charles.  “A Complaint of the Decay of Beggars in the Metropolis.” Essays of Elia and Last Essays of Elia.  London: J.M. Dent, 1972. 134-41</li> <li>Mayhew, Henry.  London Labour and the London Poor.  4 vols. 1861-62.  Reprint.  New York: Dover, 1968.</li> <li>Warne, Vanessa.  “Clearing the Streets: Blindness and Begging in Henry Mayhew’s London Labour and the London Poor.” City Limits: Perspectives on the Historical European City. Glenn Clark, Judith Owens, and Greg Smith eds.  Montreal: McGill-Queen’s UP, 2010.</li> <li>Wordsworth, William.  <a title="The Prelude" href="http://www.nineteenthcenturydisability.org/items/show/11" target="_self">“The Prelude [Excerpt],” </a>  Annotated by Vanessa Warne.  Nineteenth-Century Disability: A Digital Reader.  </li> </ul> Arthur Symons Blindness Class Literature Poetry William Wordsworth https://nineteenthcenturydisability.org/files/original/4c227392db77ae2698895747dbd45067.jpg b5f10d2c10d6a6090aa1e80972279e00 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 1024 Height 750 Bit Depth 8 Channels 3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource This coloured photo shows the harbour in San Remo; three boats sail on the blue Riviera, with villas and hills in the distance. Photomechanical print, photochrom, colour. ca. 1890 to 1900. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1860 to 1880 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. San Remo combines, in a modified degree, the invigorating qualities of Nice with the warmth of Mentone, but without its closeness; and is thus peculiarly adapted for diseases of the chest,<a title="" href="#_ftn1">[1]</a> especially if the digestive organs are impaired. It lies due south, in the middle of a large bay, at the east end of which the Capo Verde, and at the west the Capo Nero, run far out to sea, and form a sufficient shelter against the winds from both quarters. Gently sloping hills, covered with orange, lemon, and olive trees, rise from these capes, one above another, in the form of an amphitheatre, extending far back till they join a chain of lofty mountains, the highest of which, Monte Bignone, rising 4300 feet, lies exactly behind the town, and these mountains again are protected by the Maritime Alps. Begnone and its fellows form one continuous range, there is not a single gap through which the wind can rush; of all the numerous valleys radiating from the town not one leads to a pass, they simply run up between the lower hills till they lose themselves, vanishing in the sides of the mountains. The lowest elevation at which the range can be crossed is 2000 feet. Unless people have seen the place they will hardly understand this description, but the truth of it is perceived at once from any of the lower hills, or, better still, by taking a boat about a mile out to sea. Of course it is a matter of the greatest importance to invalids to step at once out of the house into the lemon and olive groves without risk of exposure to wind and dust; and this advantage San Remo possesses more than any place I know, as the olive groves reach down almost to the water’s edge, and the delight of wandering amongst them none but those who have tried can know. Their immense extent also keeps the air cool in the warmer parts of the season by preventing radiation, such as takes place from the bare rocks at Mentone, making it too hot for English residents after the middle of April. […] Hitherto I have never stayed at San Remo later than the end of April, but so much has always been said to me by the natives about the salubrity of their climate in May, and they have so often assured me that it was one of their pleasantest months, that this year I was induced to try it, and we therefore remained there instead of going as usual to Germany. The weather during the whole of April had been most charming, as nearly approaching to perfection as I can imagine. Bright, beautiful, calm, cool mornings, a delightful sea breeze springing up about ten and continuing till almost half-past five, when it again calmed down, and there was a delightful twilight, cool and refreshing, of nearly two hours. The nights were also quite cool. We remained until the twenty-fifth of May, and the same description will apply to the weather during the whole of that month; it was charming, hot, but never so much so as to cause us inconvenience, while the amount of verdure prevented that intolerable glare which is so trying to the eyes in less wooded localities. […] The weather is often hotter in England in April and May than we found it at San Remo.<a title="" href="#_ftn2">[2]</a> As I shall mention elsewhere, the hotel keepers are going to build houses for the convenience of bathers, hoping to make San Remo the great summer bathing place of the Riviera. It will, I am convinced, be ere long the great winter sanatorium for diseases of the chest. Amongst other recommendations, physicians all agree that it is particularly good in cases of haemorrhage, the air is so soothing. <h3>Notes</h3> <div> <div> <a title="" href="#_ftnref">[1]</a> In the nineteenth century “diseases of the chest” often referred to tuberculosis, but could also refer to emphysema or bronchitis (which are now known as chronic obstructive pulmonary disease). </div> <div> <a title="" href="#_ftnref">[2]</a> The average temperature of the month of May, up to the 26th, was, maximum 79°, minimum 57°, Farenheit. [author’s footnote] </div> </div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource San Remo as a Winter Residence Description An account of the resource Invalidism may seem to limit mobility, confining one to the four walls of the sickroom. But, for those who were well enough and wealthy enough, the Victorians actually made an industry of travelling for the sake of one’s health. Thus, far from being immobile, an invalid could actually undertake quite a strenuous travel itinerary. Within England, one could visit a hydropathy establishment, such as <a title="Ben Rhydding" href="http://www.nineteenthcenturydisability.org/items/show/1">Ben Rhydding</a>, in Yorkshire, or a seaside resort town. San Remo was one of many popular Mediterranean locations for invalids hoping to avoid an English winter altogether. The author of the excerpt below, a self-declared invalid, writes a practical guide for Englishmen and women wishing to winter abroad, in sunny San Remo. Aspinall compares San Remo favourably to Madeira (“depressing and debilitating” 2), Egypt (“hot and dusty, and the food little calculated to suit a delicate digestion” 2) Naples, Rome and Sorrento, and Nice as a favoured spot for convalescents. He gives practical advice on the hotels (with names like Hôtel Victoria and Hôtel d’Angleterre, it is easy to see that hotels were catering to the English abroad), and specific directions for scenic walks and donkey rides in this Victorian version of Lonely Planet for invalids. In Henry James's The Portrait of a Lady (1880), San Remo is one of the tubercular Ralph Touchett's haunts, where he wiles away "a dull, bright winter beneath a slow-moving white umbrella" (242). Creator An entity primarily responsible for making the resource [Aspinall, W.B.] Source A related resource from which the described resource is derived W. B. Aspinall. San Remo as a Winter Residence. London: John Churchill and Sons, 1865. Pages 10-13. Available online at <a title="San Remo as a Winter Residence" href="http://archive.org/details/sanremoasawinte00aspigoog" target="_blank">archive.org</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1865 Contributor An entity responsible for making contributions to the resource Karen Bourrier Rights Information about rights held in and over the resource This coloured photo shows the harbour in San Remo; three boats sail on the blue Riviera, with villas and hills in the distance. Photomechanical print, photochrom, colour. ca. 1890 to 1900. Courtesy <a title="San Remo Library of Congress" href="http://www.loc.gov/pictures/item/2001699351/" target="_blank">Library of Congress</a>, in the public domain (<a title="Library of Congress" href="http://www.loc.gov/pictures/item/2001699351/resource/" target="_blank">LC-DIG-ppmsc-05986</a>). Relation A related resource <ul><li>Bar-Yosef, Eitan. “The ‘Deaf-Traveller’, the ‘Blind Traveller’ and Constructions of Disability in Nineteenth-Century Travel Writing.” Victorian Review 35.2 (2009): 133-154.</li> <li>Frawley, Maria. Invalidism and Identity in Nineteenth-Century Britain. Chicago: University of Chicago Press, 2004.</li> <li>Haley, Bruce. The Healthy Body and Victorian Culture. Cambridge, MA: Harvard University Press, 1978.</li> <li>James, Henry. The Portrait of a Lady (1881). Ed Nicola Bradbury. New York: Oxford University Press, 1998.</li> </ul> Class Invalidism Medicine Mobility Travel Writing https://nineteenthcenturydisability.org/files/original/1c33dec5afde0bfded4d301aa14f9da6.jpg 9c21d51da135b927e72745214f67e70b Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 453 Height 536 Bit Depth 8 Channels 3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource John McL. Ralston’s illustration shows Dolor testing out his flying cloak inside the tower, with his hands to his ears. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1860 to 1880 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. He hesitated, not wishing to be impolite. “Don’t you think it’s—just a little old and shabby for a prince?” The old woman laughed—long and loud, though very sweetly. “Prince, indeed! Why, if all the princes in the world craved for it, they couldn’t get it, unless I gave it them. Old and shabby! It’s the most valuable thing imaginable! Very few ever have it; but I thought I would give it to you, because—because you are different from other people.” “Am I?” said the Prince, and looked first with curiosity, then with a sort of anxiety, into his godmother’s face, which was sad and grave, with slow tears beginning to steal down. She touched his poor little legs. “These are not like those of other little boys.” “Indeed!—my nurse never told me that.” “Very likely not. But it is time you were told; and I tell you, because I love you.” “Tell me what, dear godmother?” “That you will never be able to walk or run or jump or play—that your life will be quite different from most people’s lives: but it may be a very happy life for all that. Do not be afraid.” “I am not afraid,” said the boy; but he turned very pale, and his lips began to quiver, though he did not actually cry—he was too old for that, and, perhaps, too proud. Though not wholly comprehending, he began dimly to guess what his godmother meant. He had never seen any real live boys, but he had seen pictures of them; running and jumping; which he had admired and tried hard to imitate, but always failed. Now he began to understand why he failed, and that he always should fail— that, in fact, he was not like other little boys; and it was of no use his wishing to do as they did, and play as they played, even if he had had them to play with. His was a separate life, in which he must find out new work and new pleasures for himself. The sense of the inevitable, as grown‐up people call it—that we cannot have things as we want them to be, but as they are, and that we must learn to bear them and make the best of them—this lesson, which everybody has to learn soon or late—came, alas! sadly soon, to the poor boy. He fought against it for a while, and then, quite overcome, turned and sobbed bitterly in his godmother’s arms. She comforted him—I do not know how, except that love always comforts; and then she whispered to him, in her sweet, strong, cheerful voice— “Never mind!” “No, I don’t think I do mind—that is, I won’t mind,” replied he, catching the courage of her tone and speaking like a man, though he was still such a mere boy. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Little Lame Prince Description An account of the resource Dinah Mulock Craik’s Victorian fairytale The Little Lame Prince and His Travelling Cloak (1874) tells the story of Prince Dolor, whose legs are disabled after a nurse drops him at his christening. Following the death of his father, the king of Nomansland, the infant Prince Dolor is secretly banished to a distant tower by his wicked uncle. Dolor grows up in the tower, unaware of his position as the true king of Nomansland and, as the excerpt below suggests, equally unaware of his identity as a person with disability until his fairy godmother, Stuff-and-nonsense, provides him with a magical travelling cloak that allows him to leave the castle. The adventures Dolor has on the cloak teach him lessons that make him a better ruler when he is eventually reinstated as Nomansland’s king. In the excerpt below, Stuff-and-nonsense gives Dolor his magical travelling cloak, explaining that she does so because he cannot walk. Craik wrote prolifically about the <a title="Craik Olive" href="http://www.nineteenthcenturydisability.org/items/show/5">lives of people with disabilities</a>, and explored in her fiction the consequences of being deemed physically different in a world that privileges “normalcy.” Significantly, Craik’s portrayal of disability reveals that the Victorian perception of disability was complex and, at times, self-contradictory. The following excerpt paints disability as immutably and pitiably “different,” producing for the fairytale’s audience a sentimental lesson on accepting one’s circumstances; however, at the same time, the scene demonstrates that the primary problems of disability are social, not physical. What makes Dolor weep is his social isolation, not his physical difference. Creator An entity primarily responsible for making the resource Craik, Dinah Mulock Source A related resource from which the described resource is derived Dinah Mulock Craik, The Little Lame Prince and His Travelling Cloak: A Parable for Young and Old. Illus. John McL. Ralston. London: Daldy, Ibitser & Co., 1875. Pages 59-61. Available <a title="Little Lame Prince" href="http://webapp1.dlib.indiana.edu/vwwp/view?docId=VAB7135" target="_blank">online</a> at the Indiana Women Writer's Project. Date A point or period of time associated with an event in the lifecycle of the resource 1874 Contributor An entity responsible for making contributions to the resource Kylee-Anne Hingston Rights Information about rights held in and over the resource John McL. Ralston’s illustration shows Dolor testing out his flying cloak inside the tower, with his hands to his ears. The Little Lame Prince (London: Daldy, Isbister & Co., 1875), Microform, Archival Survival, Inc. (1990): film 7314.1 Relation A related resource <ul><li>Dowker, Ann. “The Treatment of Disability in 19th and Early 20th Century Children's Literature,” Disability Studies Quarterly 24.1 (2004). Available <a title="Little Lame Prince Article" href="http://www.dsq-sds.org" target="_blank">online</a>.</li> <li>Hingston, Kylee-Anne. "Prostheses and Narrative Perspective in Dinah Mulock Craik's The Little Lame Prince." Women's Writing. Forthcoming in 2013.</li> <li>Holmes, Martha Stoddard. Fictions of Affliction: Physical Disability in Victorian Culture, The Corporealities Series (Ann Arbour: U of Michigan P, 2004) 48. </li> <li>Mitchell, Sally. Dinah Mulock Craik. Boston: Twayne Publishers, 1983. Available <a title="Sally Mitchell Dinah Craik" href="http://www.victorianweb.org/authors/craik/index.html" target="_blank">online</a> on the Victorian Web.</li> </ul> Childhood Children's Literature Dinah Mulock Craik Fairy Tale Literature Prosthesis https://nineteenthcenturydisability.org/files/original/05341f421fe19fce0759b212b25cedb8.jpg d661a8d1e8421737a609e999fcef30e3 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 601 Height 516 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:L0036586 A selection of glass eyes from an opticians glas eye ca headline:L0036586 A selection of glass eyes from an opticians glas eye case. caption:L0036586 A selection of glass eyes from an opticians glas eye case. Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A selection of glass eyes from an opticians glas eye case. Possibly made by E. Muller of Liverpool. Photograph c. 1900 Published: - Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:64:"L0036586 A selection of glass eyes from an opticians glas eye ca";s:8:"headline";s:67:"L0036586 A selection of glass eyes from an opticians glas eye case.";s:7:"caption";s:427:"L0036586 A selection of glass eyes from an opticians glas eye case. Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A selection of glass eyes from an opticians glas eye case. Possibly made by E. Muller of Liverpool. Photograph c. 1900 Published: - Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A photograph of a glass eye from an optician’s case—possibly made by E. Muller of Liverpool. c. 1900. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1902 to 1914 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Many weeks after, amidst the charred ruins of the Experimental Farm, there was found something which may or may not have been a human shoulder-blade and in another part of the ruins a long bone greatly gnawed and equally doubtful. Near the stile going up towards Eyebright there was found a glass eye, and many people discovered thereupon that Skinner owed much of his personal charm to such a possession. It stared out upon the world with that same inevitable effect of detachment, that same severe melancholy that had been the redemption of his else worldly countenance. [. . .] The glass eye of course has an air of extreme conviction, but If It really is Skinner's—and even Mrs. Skinner did not certainly know if that immobile eye of his was glass—something has changed it from a liquid brown to a serene and confident blue. That shoulder-blade is an extremely doubtful document, and I would like to put it side by side with the gnawed scapulae<a title="" href="#_ftn1">[1]</a>of a few of the commoner domestic animals before I admitted its humanity. <div> </div> <h3>Note</h3> <div> <a title="" href="#_ftnref">[1]</a> Scapulae is an anatomical term that refers to the shoulder blade. </div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Food of the Gods and How it Came to Earth Description An account of the resource Published in 1904, H. G. Wells’s novel <a href="http://archive.org/details/foodofgodshowitc00well">The Food of the Gods and How it Came to Earth</a> is a tale that depicts ocular prosthesis at its most effective: the minor character Mr. Skinner is only revealed as an artificial eye user after his death, where the only remains of him found are a glass eye and a severed shoulder blade, thus paying testimony to the increasingly life-like nature of contemporary ocular prostheses. Mr.Skinner’s use of such a device is in fact so convincing a replacement that even his wife is said to be unsure of whether he wore an artificial eye. Furthermore, the narrator even suggests that the device enhanced, rather than detracted from, Mr. Skinner’s personal appearance prior to his death, providing a contrast with earlier depictions of ocular prosthesis from nineteenth-century literature, which, in many cases, described artificial eye wearers as having an abhorrent look (see Miss Ruff from Anthony Trollope’s 1859 novel <a href="http://ia600308.us.archive.org/19/items/bertramsnovel01troluoft/bertramsnovel01troluoft.pdf">The Bertrams</a>, Mr. Pinto from William Makepeace Thackeray’s 1862 short story“<a href="http://archive.org/stream/thelockandkeylib01831gut/lckyl10.txt">The Notch on the Ax: A Story a la Mode</a>” and M. Laferté from George du Maurier’s 1897 novel <a href="http://archive.org/stream/themartian27400gut/pg27400.txt">The Martian</a>). Written following a number of significant improvements made in both the prosthetic devices that were available to the one-eyed and the surgical procedures that prepared the ocular cavity for the introduction of an artificial device, Wells’s text showcases an artificial eye which successfully negates the unwanted attention and stigma so often attached to earlier prosthesis users. Many technological and medical developments facilitated this ability in real life, including Amédée Bonnet’s re-description of the tenon’s capsule in 1841, which paved the way for surgeon’s to more safely remove eyeballs using a procedure called enucleation; the influence of French ocularist Auguste Boissonneau’s personalised and anatomically-accurate approach to prosthesis making; the development of new lighter and more durable glass compounds by German ocularists in the 1870s; and the Müller brothers’ invention of the “Snellen” or “reform eye” in the 1890s, which provided enucleated patients with a prosthetic device that could both fill the empty socket left following enucleation and enable a full range of natural movement. Through his portrayal of a device which utterly evades attention until it is detached from the socket of its user, Wells presents ocular prosthesis as a technology that (thanks to its development in the nineteenth century) could successfully hide the one-eyed user in early-Edwardian society. Creator An entity primarily responsible for making the resource Wells, H. G. Source A related resource from which the described resource is derived Wells, H. G. The Food of The Gods and How it Came to Earth. 1904. rpt. London: Thomas Nelson and Sons, 1909. Pages 50-1. Full text available <a href="http://www.archive.org/details/foodofgodshowitc00well">online</a> at archive.org. Date A point or period of time associated with an event in the lifecycle of the resource 1904 Contributor An entity responsible for making contributions to the resource Ryan Sweet Rights Information about rights held in and over the resource A photograph of a glass eye from an optician’s case—possibly made by E. Muller of Liverpool. c. 1900. Courtesy of the <a href="http://images.wellcome.ac.uk/">Wellcome Library, London</a> under a Creative Commons License (<a title="Wellcome Images" href="http://wellcomeimages.org/" target="_blank">Museum No A660037</a>). Relation A related resource <ul><li>The College of Optometrists, “<a href="http://www.college-optometrists.org/en/knowledge-centre/museyeum/online_exhibitions/artificialeyes/glass.cfm">Glass Eyes</a>”.</li> <li>Ott, Katherine. “Hard Wear and Soft Tissue: Craft and Commerce in Artificial Eyes”. Artificial Parts, Practical Lives: Modern Histories of Prosthetics. eds. Katherine Ott, David Serlin and Stephen Mihm. New York: New York UP, 2002. 147-71.</li> <li>Prince, J. H. Ocular Prosthesis. Edinburgh: E. & S. Livingstone, 1946.</li> </ul> H. G. Wells Literature Novel Prosthesis Science Fiction https://nineteenthcenturydisability.org/files/original/dfb3d57671da48f43f07bbc25d2db837.jpg 2b8ebc083ad500236f735bd05338ccdb Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 391 Height 524 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:L0047932 A lady retiring to bed, and ordering her maid to look a headline:L0047932 A lady retiring to bed, and ordering her maid to look after caption:L0047932 A lady retiring to bed, and ordering her maid to look after Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A lady retiring to bed, and ordering her maid to look after her artificial aids to beauty (wig, teeth, glass eye etc.). Coloured etching by P. Roberts after G.M Woodward Titled \'Celia Retiring\' c. 1807 By: G. M. Woodwardafter: P. RobertsPublished: [ca. 1807] Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:64:"L0047932 A lady retiring to bed, and ordering her maid to look a";s:8:"headline";s:68:"L0047932 A lady retiring to bed, and ordering her maid to look after";s:7:"caption";s:555:"L0047932 A lady retiring to bed, and ordering her maid to look after Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A lady retiring to bed, and ordering her maid to look after her artificial aids to beauty (wig, teeth, glass eye etc.). Coloured etching by P. Roberts after G.M Woodward Titled \'Celia Retiring\' c. 1807 By: G. M. Woodwardafter: P. RobertsPublished: [ca. 1807] Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource The colour sketch shows a lady retiring to bed and ordering her maid to look after her artificial aids to beauty (wig, teeth, glass eye etc.), entitled “Celia Retiring” by P. Roberts (after G.M Woodward). Coloured etching, 1807. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1837 to 1860 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. A lion-hearted old warrior was Miss Ruff,—one who could not stand with patience the modern practice of dallying in the presence of her enemies' guns. She had come there for a rubber of whist<a title="" href="#_ftn1">[1]</a>—to fight the good fight—to conquer or to die, and her soul longed to be at it […] “That Miss Ruff is dreadful.” Here an awful note was heard, for the Lady Ruth had just put her thirteenth trump on Miss Ruff's thirteenth heart. What Littlebathian female soul could stand that unmoved? “Oh, dear! that poor old woman!” continued Miss Todd. “You know one lives in constant fear of her having a fit. Miss Ruff is horrible. She has a way of looking with that fixed eye<a title="" href="#_ftn2">[2]</a> of hers that is almost worse than her voice.” The fact was, that Miss Ruff had one glass eye. “I know she'll be the death of that poor old creature some of these days. Lady Ruth will play, and she hardly knows one card from another. And then Miss Ruff, she will scold. Good heavens! do you hear that?” “It's just seven minutes since I turned the last trick of the last hand,” Miss Ruff had said, scornfully. “We shall have finished the two rubbers about six in the morning, I take it.” “Will your ladyship allow me to deal for you?” said Mr. Fuzzybell, meaning to be civil. “I'll allow you to do no such thing,” croaked out Lady Ruth. “I can deal very well myself; at any rate as well as Miss Ruff. And I'm not the least in a hurry;” and she went on slobbering out the cards, and counting them over and over again, almost as each card fell [. . .] This was dreadful to Miss Ruff. Here had her rival played two rubbers, won them both, pocketed all but a sovereign<a title="" href="#_ftn3">[3]</a>, and was again at work; while she, she was still painfully toiling through her second game, the first having been scored against her by her partner's fatuity in having trumped her long heart. Was this to be borne with patience? “Lady Ruth,” she said, emitting fire out of her one eye, “do you ever mean to have done dealing those cards?” Lady Ruth did not condescend to make any answer, but recommenced her leisurely counting; and then Miss Ruff uttered that terrific screech which had peculiarly excited Miss Todd's attention. [. . .] The table at which Lady Ruth and her party were sitting—we ought rather to say, Miss Ruff and her party—was in one corner of the room, and our friends had placed themselves on a cushioned seat fixed against the wall in this very corner. Things were still going badly with Miss Ruff. As Sindbad carried the old man, and could not shake him off, so did Miss Ruff still carry Lady Ruth Revoke; and the weight was too much for her. She manfully struggled on, however—womanfully would perhaps be a stronger and more appropriate word. She had to calculate not only how to play her own hand correctly, but she had also to calculate on her partner's probable errors. This was hard work, and required that all around her should be undisturbed and silent [. . .] The quarrelling had been going on unabated, but that had caused little surprise. It is astonishing how soon the ear becomes used to incivilities. They were now accustomed to Miss Ruff's voice, and thought nothing of her exclamations. “Well, I declare—what, the ten of spades!—ha! ha! ha! well, it is an excellent joke—if you could have obliged me, Lady Ruth, by returning my lead of trumps, we should have been out,” &c., &c., &c. All this and more attracted no attention, and the general pity for Lady Ruth had become dead and passive. But at last Miss Ruff's tongue went faster and faster, and her words became sharper and sharper. Lady Ruth's countenance became very strange to look at. She bobbed her head about slowly in a manner that frightened Mr. Fuzzybell, and ceased to make any remark to her partner. Then Mrs. Garded made two direct appeals to Miss Ruff for mercy. But Miss Ruff could not be merciful. Perhaps on each occasion she refrained for a moment, but it was only for a moment; and Mrs. Garded and Mr. Fuzzybell ceased to think of their cards, and looked only at the Lady Ruth; and then of a sudden they both rose from their seats, the colonel, as we have said, rushed across the room, and all the players at all the tables put down their cards and stood up in alarm. Lady Ruth was sitting perfectly still, except that she still bobbed her old head up and down in a strange unearthly manner. She had about ten cards in her hand which she held motionless. Her eyes seemed to be fixed in one continued stare directly on the face of her foe. Her lower jaw had fallen so as to give a monstrous extension to her cadaverous face. There she sat apparently speechless; but still she bobbed her head, and still she held her cards. It was known at Littlebath that she had suffered from paralysis, and Mrs. Garded and Mr. Fuzzybell thinking that she was having or about to have a fit, naturally rushed to her assistance. [. . .] “Do you feel yourself ill, Lady Ruth?” said Miss Todd. But her ladyship answered nothing. It seemed, however, that her ladyship could walk, for with her two supporters she made her way nearly to the door of the room. There she stood, and having succeeded in shaking off Sir Lionel's arm, she turned and faced round upon the company. She continued to bob her head at them all, and then made this little speech, uttering each word very slowly. “I wish she had a glass tongue as well, because then perhaps she'd break it.” And having so revenged herself, she suffered Miss Todd to lead her away into the bedroom. It was clear at least that she had no fit, and the company was thankful. (359-80) <h3>Notes</h3> <a title="" href="#_ftnref">[1]</a> Whist is a card game that was popular throughout the eighteenth and nineteenth centuries. It was derived from the older game “Ruff and Honours”, perhaps explaining Miss Ruff’s name. Rubber refers to a scoring system that decides the winner, meaning the best of three—that is, the winner is the first player to win two games. <a title="" href="#_ftnref">[2]</a> One of the major flaws in early ocular prosthesis was that shell design artificial eyes (curved shells of glass or enamel that would rest upon the surface of an atrophied eye) were often ill-fitting, or had sharp edges which restricted their range of movement and caused damage to surrounding tissue. It was rare for eyes to be surgically removed (enucleated) at this time—prior to improvements in anatomical knowledge and surgical procedure enucleation was extremely dangerous—and so shell design eyes were by far the most common forms of ocular prosthesis available. For more on the medical, technological and commercial history of artificial eyes, see Katherine Ott’s“Hard Wear and Soft Tissue: Craft and Commerce in Artificial Eyes” in Katherine Ott, David Serlin and Stephen Mihm’s (eds.) Artificial Parts, Practical Lives: Modern Histories of Prosthetics (New York: New York University Press, 2002), 147-71. <a title="" href="#_ftnref">[3]</a> A sovereign was a £1 coin. For more on Victorian currency, see Marje Bloy’s “<a href="http://www.victorianweb.org/economics/currency.html">British Currency before 1971</a>” on The Victorian Web. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Bertrams Description An account of the resource Anthony Trollope's <a href="http://ia600308.us.archive.org/19/items/bertramsnovel01troluoft/bertramsnovel01troluoft.pdf">The Bertrams</a> (1859) is a rare example of a nineteenth-century novel that depicts a one-eyed female character. Whereas male characters that have missing eyes appear frequently elsewhere in nineteenth-century British literature—thinking, for instance, of Mr. Squeers from Charles Dickens’s <a href="http://archive.org/stream/nicholasnickleby00967gut/old/ncklb10.txt">Nicholas Nickleby</a>(1838-39), Mr. Pinto from William Makepeace Thackeray’s short story“<a href="http://archive.org/stream/thelockandkeylib01831gut/lckyl10.txt">The Notch on the Ax: A Story a la Mode</a>” (1862) and M. Laferté from George du Maurier’s <a href="http://archive.org/stream/themartian27400gut/pg27400.txt">The Martian</a>(1897) to name but a few—Trollope’s text includes a character that, despite her sex, aligns with several of the common negative characteristics that were associated with one-eyed men and ocular prosthesis wearers in this period. The minor character, Miss Ruff, who is a regular visitor to Littlebath in Trollope’s tale (the home of well-to-do spinster Miss Todd), is indeed a wearer of an artificial eye and like many of the male characters described elsewhere in Victorian fiction, is portrayed in a far from flattering manner. Despite resisting associating the deformed with criminality in this text, which was often the case in relation to the one-eyed male character, Trollope does, however, depict Miss Ruff as someone who is as ugly in character as she is in appearance. In fact, though to a less extreme extent, like the sinister schoolmaster Mr. Squeers from Dickens’s novel, Miss Ruff is portrayed as somewhat villainous and, considering her excessively aggressive card-play, to some extent violent. Significantly, the tale also reveals the gender-specific social difficulties that faced Victorian one-eyed women. Written at a time when artificial eyes were becoming more user-friendly and increasingly accurate-looking replacements for the human eye, Trollope’s text can, to some extent, be read as a critique of contemporary ocular prostheses due to the very fact that Miss Ruff is a recognisable user of a glass eye: the primary aim of the artificial eye maker was to produce a device that could as accurately as possible mimic the appearance of a real eye, making the wearer’s loss unperceivable thus alleviating unwanted attention and stigma. While significant and well-publicised developments in artificial eye technology were made in the 1840s, 50s and 60s—most notably by French prosthetist Auguste Boissonneau, who pioneered the production of ergonomically designed bespoke enamel artificial eyes—Trollope’s text suggests that ocular prostheses could still easily be distinguished from their natural counterpart. In fact, the very flaws in Miss Ruff’s prosthesis add to her abhorrent demeanour: the “fixed” position of her eye is a physical manifestation of the intensity and harshness that she displays behaviourally in her aggressive card-play. For one-eyed women, ocular prosthesis use has long been associated with aging, abhorrence and spinsterhood. Jonathan’s Swift’s satirical poem “<a href="http://archive.org/stream/thepoemsofjonath14353gut/14353.txt">A Beautiful Young Nymph Going to Bed</a>“ (1731), Louis-Léopold Boilly’s painting “Les epoux assortis” (1825; available to view at <a href="http://images.wellcome.ac.uk/">Wellcome Images</a>) and G.M Woodward’s “Celia Retiring” (1803; see image above) are just three examples that exemplify this point. As it would appear, Trollope reaffirms these connotations with his depiction of Miss Ruff. An unwanted ever-present at the whist table, Miss Ruff’s glass eye can be read as both a reason for and signifier of her old age and spinsterhood. Since such a premium was placed on physical appearance and maternal function, women with deformities, especially those with visible physical disfigurements, often occupied a marginalised position within society. In Miss Ruff’s case, her obvious use of an artificial eye is a visual signifier for her inability to attract a male suitor; it could, in fact, be the very reason why she remains single. Trollope further emphasises her unsuitability for marriage by enamoring her with a number of unattractive traits—sternness, competitiveness, rudeness and aggressiveness—which reaffirm the prejudices against bodily difference which were rife during this period. Creator An entity primarily responsible for making the resource Trollope, Anthony. Source A related resource from which the described resource is derived Trollope, Anthony. The Bertrams. Leipzig: Bernhard Tauchnitz, 1859. Vol. 1. Pages 359-80. Available <a href="http://ia600308.us.archive.org/19/items/bertramsnovel01troluoft/bertramsnovel01troluoft.pdf">online</a> at archive.org. Date A point or period of time associated with an event in the lifecycle of the resource 1859 Contributor An entity responsible for making contributions to the resource Ryan Sweet Rights Information about rights held in and over the resource The colour sketch shows a lady retiring to bed and ordering her maid to look after her artificial aids to beauty (wig, teeth, glass eye etc.), entitled “Celia Retiring” by P. Roberts (after G.M Woodward). Coloured etching, 1807. Courtesy of the <a href="http://images.wellcome.ac.uk/">Wellcome Library, London</a> under Creative Commons License (<a title="Wellcome Library Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1662684" target="_blank">Wellcome Library no. 662684i</a>). Relation A related resource <ul><li>The College of Optometrists, “<a href="http://www.college-optometrists.org/en/knowledge-centre/museyeum/online_exhibitions/artificialeyes/glass.cfm">Glass Eyes</a>”.</li> <li>Davis, Lennard J. “Constructing Normalcy”. The Disability Studies Reader. ed. Lennard J. Davis. 3rd ed. London: Routledge, 2010. 3-19.</li> <li>Holmes, Martha Stoddard. Fictions of Affliction: Physical Disability in Victorian Culture. Ann Arbor: U of Michigan P, 2004.</li> <li>Ott, Katherine. “Hard Wear and Soft Tissue: Craft and Commerce in Artificial Eyes”. Artificial Parts, Practical Lives: Modern Histories of Prosthetics. eds. Katherine Ott, David Serlin and Stephen Mihm. New York: New York UP, 2002. 147-71.</li> <li>Prince, J. H. Ocular Prosthesis. Edinburgh: E. & S. Livingstone, 1946.</li> </ul> Anthony Trollope Gender Literature Novel Prosthesis https://nineteenthcenturydisability.org/files/original/71af39c7eaade68d3cb6a52f4078158b.jpg a6f335910de598c2e2360988ce543a57 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 353 Height 515 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:L0040536 \'Comfort for Invalids\' advice page headline:L0040536 \'Comfort for Invalids\' advice page caption:L0040536 \'Comfort for Invalids\' advice page Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk Advice on comfort for invalides from The Lancet March 22nd, 1856. Shows various beds, chairs and wheelchairs to make a invalid\'s life easier and more comfortable. 1856 Ephemera Collection By her majesty\'s letters patent : J. Alderman Published: 1856. Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:45:"L0040536 \'Comfort for Invalids\' advice page";s:8:"headline";s:45:"L0040536 \'Comfort for Invalids\' advice page";s:7:"caption";s:524:"L0040536 \'Comfort for Invalids\' advice page Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk Advice on comfort for invalides from The Lancet March 22nd, 1856. Shows various beds, chairs and wheelchairs to make a invalid\'s life easier and more comfortable. 1856 Ephemera Collection By her majesty\'s letters patent : J. Alderman Published: 1856. Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In 12 sketches, this advertisement showcases how the invalid chair can be reclined in various poses, used in the bedroom, outdoors, and even up staircases. "Comfort for Invalids" from the Lancet General Advertiser. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1837 to 1860 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. [Text of Advertisement] The Lancet,]  THE LANCET CENTRAL ADVERTISER.  [March 22, 1856. By Her Majesty’s Letters Patent Comfort for Invalids 8 Denmark St. Soho London. J. ALDERMAN, Nephew and Successor to Mr. CHAPMAN, begs most respectfully to inform his Friends and the Medical Profession, that after many years’ experience in the manufacture of all kinds of Invalid Beds, Couches, Chairs, Carriages, &c., and more especially the well-known Earle’s Fracture Bed,<a title="" href="#_ftn1">[1]</a> he has obtained Her Majesty’s Letters Patent<a title="" href="#_ftn2">[2]</a> for his imperceptibly Graduating, Mechanical, and Elastic Adjustments, which he has invented for the comfort and convenience of Invalids; he has also made them applicable to all kinds of Operating Couches and Chairs, for surgical and dental purposes.  Earle’s Bed, a few years ago, was used principally for Fractures, it being too hard, and its movements too coarse, for general use; but by carefully studying the properties of this Bed, or Couch, the Patentee saw hat by proper mechanical and elastic adjustments it might be made the most perfect, useful, and elaborate piece of Furniture extant.  To accomplish this would be a work of time and expense, and could only be attained by being constantly working for Invalids, and making careful experiments to alleviate the sufferings of various patients, so as to render the Bed or Couch suitable for every case. The Pantentee is now happy to say, that after many years’ experience in trying every mechanical action and elastic adjustment that could be thought of, to alleviate the sufferings by every possible change of position, and that imperceptibly to the patient, at the same time avoiding all pressure by his elastic adjusting foundation and mattress, to prevent bed-sores, so as to supersede the use of water, he has at length succeeded in making his mechanical and elastic adjustments so simple and perfect as to be able to apply them to all sorts of Invalid Furniture.  Earle’s Bed, or Couch, can now be safely said to be the most perfect, useful, and elaborate piece of furniture in use, and will be found the greatest boon to all those who are suffering from Spinal Affections [sic], Hip Complaints, Paralysis, Fractures, and in all cases where perfect rest is required.  Ladies, who require complete rest before and after their Confinements, will find this Couch a great luxury.  The Illustrations—1, 2, 3, 4, 5, and 7—will show the various ways and positions in which this Couch can be fitted-up and used. These Beds, or Couches, are also fitted-up for Hospital use, and with every necessary arrangement to prevent the patient being removed.  The Patentee would particularly recommend them for the use of our Military Hospitals,<a title="" href="#_ftn3">[3]</a> where they would be found of the greatest comfort and convenience, both to the surgeon and patient. Nos. 6, 6, 6, is an illustration of J. Alderman’s Patent Portable Equilibrium Carrying Chair, by which a patient can be carried up- or down-stairs with perfect ease and safety, the Chair always adjusting itself, which enables the two persons who carry to walk up- or down-stairs in the usual way and quite erect, with their arms down, so as to avoid any strain upon the muscles; it has also a shifting stand upon very easy Castors, so that it can be used as an easy Chair to prevent the patient being disturbed. Nos. 8, 8, is the Patent self-adjusting Invalid Chair, which is adjusted by Graduating Imperceptible Mechanism.  This Chair, like the Couch, has been a work of time, the Patentee having followed Nature in every part of it: for instance, when the back is depressed, the arms, the seat, and the leg-rest all work together imperceptibly, so that not a muscle of the patient is disturbed.  In order that the patient may get on and off from either side while the leg-rest is up, either of the arms can be taken off. No. 9 is a self-propelling Chair, which renders a patient quite independent, being able to go from room to room without any assistance. No. 10 is a four-wheeled Brighton chair, suitable for either hand or Pony. No. 11 and 12 are three-wheeled Garden or Bath Chairs, with and without a hood. No. 12 is J. Alderman’s Improved Spinal or Sofa Carriage, mounted upon C and under-springs; also the patent noiseless wheels, if required.  The couch being made to slide on and off the carriage, and having a stand upon easy castors for the room, prevents the necessity for the patient’s removal from the couch. J.A. begs to state that, in order to bring these general comforts within the reach of all those who do not wish to purchase, he intends Lending them on Hire, and where the hirer wishes to become a purchaser within the third month, the hire will be deducted. N.B. Inclined Planes, Prone Couches, Bed Chairs, and every other article required by Invalids. <h3> Notes</h3> <hr align="left" size="1" width="33%" /> <a title="" href="#_ftnref">[1]</a> London surgeon <a href="http://en.wikipedia.org/wiki/Henry_Earle">Henry Earle</a> (1789–1838) invented this bed for leg fractures. <a title="" href="#_ftnref">[2]</a> A <a href="http://en.wikipedia.org/wiki/Letters_patent">letters patent</a> is an open document from a monarch (in this case Queen Victoria) or a government issuing a patent or right. <a title="" href="#_ftnref">[3]</a> Military Hospitals:  Alderman is trying to appeal to the great number of disabled soldiers who were coming out of the <a href="http://en.wikipedia.org/wiki/Crimean_War">Crimean war</a>, which was in full force when this advertisement was published on 22 March 1856. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Comfort for Invalids Description An account of the resource In this advertisement for a variety of what we would now call “wheelchairs” or “lounge chairs,” J. Alderman offers “comfort for invalids” in his newly patented “Imperceptibly Graduating, Mechanical, and Elastic Adjustments” available in a variety of couches and chairs. Credit for the “first wheelchair” most often goes to John Dawson of Bath, a town that attracted many invalids seeking its healing waters in the late eighteenth and nineteenth centuries. Around 1798, Dawson called himself a “Wheel-chair maker” and hired out his chairs to the invalids who flocked to the spa town. These "Bath Chairs" typically had two large wheels in the back and a smaller wheel on the front; they were pushed by an attendant, but directed by the passenger by means of a rod attached to the front wheel. Yet, as Herman L. Kamenetz points out, there was a long global history of carrying invalids in <a href="http://en.wikipedia.org/wiki/Litter_(vehicle)">litters</a>, pushing them in wheelbarrows, or later, carrying them in sedan chairs.  (Sedan chairs were also used by the upper classes.) Furthermore, wheeled chairs certainly existed before the late eighteenth century.  Louis XIV, for example, was one of many historical figures who had a wheeled chair (his was known as the roulette) to accommodate immobilizing health issues such as gout.  It would thus be oversimplifying to give the credit of “inventing” the wheelchair to Dawson alone. Yet, as Alderman’s advertisement demonstrates, there was certainly a thriving industry catering to the many self-professed invalids of the nineteenth century (who included figures such as Florence Nightingale and Elizabeth Barrett Browning). Alderman’s couches and chairs are above all a product, to be sold or hired to some of the same invalids who spent winters in <a title="San Remo" href="http://www.nineteenthcenturydisability.org/items/show/13" target="_self">San Remo</a> due to diseases of the chest, or who sought cures at expensive hydrotherapy establishments such as <a title="Ben Rhydding" href="http://www.nineteenthcenturydisability.org/items/show/1" target="_self">Ben Rhydding</a>. One important difference between the chairs and couches that Alderman advertises and the contemporary wheelchair is that most of Alderman’s products are either stationary, reclining chairs, or would require an attendant to push them. No. 9 alone is self-propelling.  By contrast, contemporary wheelchairs are assumed to be self-propelling using either a motor or the user’s two arms. Alderman’s products thus highlight interdependence rather than independence, and the places to be found for invalids within the home.  Another possible reading of Alderman’s many stationary chairs is that comfortable reclining chairs were no longer the province of invalids alone by the twentieth century; indeed, one can still buy “Earl” or “Earle” lounge chairs or chaises today, whose name may well come from Alderman’s patent.   Creator An entity primarily responsible for making the resource Alderman, J. Source A related resource from which the described resource is derived "Comfort for Invalids." The Lancet (22 March 1856): 330. Date A point or period of time associated with an event in the lifecycle of the resource 22 March 1856 Contributor An entity responsible for making contributions to the resource Karen Bourrier Rights Information about rights held in and over the resource In 12 sketches, this advertisement showcases how the invalid chair can be reclined in various poses, used in the bedroom, outdoors, and even up staircases. "Comfort for Invalids" from the Lancet General Advertiser.  Courtesy of the <a title="Wellcome Images" href="http://images.wellcome.ac.uk/" target="_blank">Wellcome Institute for the History of Medicine</a> under a Creative Commons License (Call no <a title="Wellcome Library Catalogue " href="http://catalogue.wellcomelibrary.org/record=b1658436" target="_blank"> EPH448:7</a>). Relation A related resource <ul> <li>Kamenetz, Herman L. “A Brief History of the Wheelchair.” Journal of the History of Medicine and Allied Sciences 24.2 (1969): 205-210. </li> <li>Frawley, Maria. Invalidism and Identity in Nineteenth-Century Britain. Chicago: University of Chicago Press, 2004.</li> <li>“<a title="wheelchair wikipedia" href="http://en.wikipedia.org/wiki/Wheelchair" target="_blank">Wheelchair</a>” and “<a href="http://en.wikipedia.org/wiki/Litter_(vehicle)" target="_blank">Litter</a>” on Wikipedia.org.</li> </ul> Language A language of the resource English Advertisement Invalidism Medicine Mobility Technology Visual Culture https://nineteenthcenturydisability.org/files/original/681c4799c738f2a09e88e9334bc7738c.jpg 9e3c71dfb90abb524079ee9eb15a8d32 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. 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Photogravure after Eadweard Muybridge, 1887. 1887 By: Eadweard Muybridge and University of Pennsylvania.Published: 1887 Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:64:"V0048744 An amputee on crutches. Photogravure after Eadweard Muy";s:8:"headline";s:69:"V0048744 An amputee on crutches. Photogravure after Eadweard Muybridg";s:7:"caption";s:439:"V0048744 An amputee on crutches. Photogravure after Eadweard Muybridg Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk An amputee on crutches. Photogravure after Eadweard Muybridge, 1887. 1887 By: Eadweard Muybridge and University of Pennsylvania.Published: 1887 Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In a series of photographs presented in a table with three columns and twelve rows, a naked man who is missing one foot walks on crutches. https://nineteenthcenturydisability.org/files/original/0b12d75567f6e0ba28e58a1a8d2ede97.jpg ec9ad0500e9c4448cadf23fc46e2f63d Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 788 Height 286 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:V0048745 A double amputee climbing on to a chair, descending fro headline:V0048745 A double amputee climbing on to a chair, descending from a c caption:V0048745 A double amputee climbing on to a chair, descending from a c Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A double amputee climbing on to a chair, descending from a chair and moving. Photogravure after Eadweard Muybridge, 1887. 1887 By: Eadweard Muybridge and University of Pennsylvania.Published: 1887 Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:64:"V0048745 A double amputee climbing on to a chair, descending fro";s:8:"headline";s:69:"V0048745 A double amputee climbing on to a chair, descending from a c";s:7:"caption";s:492:"V0048745 A double amputee climbing on to a chair, descending from a c Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A double amputee climbing on to a chair, descending from a chair and moving. Photogravure after Eadweard Muybridge, 1887. 1887 By: Eadweard Muybridge and University of Pennsylvania.Published: 1887 Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In a series of black and white photographs presented in a table with three rows and four columns, a disabled child crawls on and off a chair. https://nineteenthcenturydisability.org/files/original/256b4df7d4b118277568f467a48e5455.jpg d101bfd0e729b8a45e2f2956efa01e40 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 778 Height 475 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:L0015804 Muybridge "Animal locomotion"; deformed child headline:L0015804 Muybridge "Animal locomotion"; deformed child caption:L0015804 Muybridge "Animal locomotion"; deformed child Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk Deformed child walking on arms and legs. 1887 By: University of Pennsylvania. and Eadweard MuybridgeAnimal locomotion Eadweard James Muybridge Published: 1887 Printed: 1887) Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:54:"L0015804 Muybridge "Animal locomotion"; deformed child";s:8:"headline";s:54:"L0015804 Muybridge "Animal locomotion"; deformed child";s:7:"caption";s:454:"L0015804 Muybridge "Animal locomotion"; deformed child Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk Deformed child walking on arms and legs. 1887 By: University of Pennsylvania. and Eadweard MuybridgeAnimal locomotion Eadweard James Muybridge Published: 1887 Printed: 1887) Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In a series of photographs with three rows and four columns, a disabled child crawls. His ribs are visible and he crawls on his feet rather than on his knees. In some of the photographs he smiles. https://nineteenthcenturydisability.org/files/original/f59c80a96337e730fa87f0ada60f8c82.jpg 41033c53a1844abb8a296378b2240955 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 635 Height 375 Bit Depth 8 Channels 3 IPTC String copyright_notice:Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html byline:Wellcome Images object_name:L0050336 A girl with multiple cerebral-spinal sclerosis walking headline:L0050336 A girl with multiple cerebral-spinal sclerosis walking with caption:L0050336 A girl with multiple cerebral-spinal sclerosis walking with Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A girl with multiple cerebral-spinal sclerosis walking with a nurse. Collotype after Eadweard Muybridge, 1887. One of 781 collotypes which form Eadweard Muybridge\'s magnum opus, Animal locomotion, 1887. This work originated in an attempt to settle the argument which arose in 1871 between Leland Stanford, president of the Central Pacific Railroad, and Robert Bonner, owner of the New York Ledger, as to whether a trotting horse ever had all four feet off the ground at once. Both men were prepared to enter the controversy fully and to contribute ideas and practical means to prove his side of the argument. Muybridge\'s solution was to photograph each stage in the trot of a horse called Occident owned by Stanford. Some of Muybridge\'s photographs did appear to show Occident with all four of his feet lifted at the same time clear of the ground. The research and photography for Animal Locomotion was carried out for the University of Pennsylvania in 1884-1885, using and improving the techniques developed in the 1870s. Of the 781 plates, 95 were devoted to the horse and 124 to other animals. The other 562 are devoted to men, women, and children, nude, semi-nude, and draped, walking, running, dancing, getting up and lying down, wrestling, boxing, leaping, etc. For further information see G. Hendricks, Eadweard Muybrige, London 1975, and R.B. Haas, Muybridge: man in motion, Berkeley 1976 Plate to: E. Muybridge, Animal locomotion, Philadelphia 1887, plate 541 1887 By: University of Pennsylvania. and Eadweard MuybridgePublished: 1887 Printed: 1887) Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html IPTC Array a:5:{s:16:"copyright_notice";s:123:"Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";s:6:"byline";s:15:"Wellcome Images";s:11:"object_name";s:64:"L0050336 A girl with multiple cerebral-spinal sclerosis walking ";s:8:"headline";s:68:"L0050336 A girl with multiple cerebral-spinal sclerosis walking with";s:7:"caption";s:1860:"L0050336 A girl with multiple cerebral-spinal sclerosis walking with Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://images.wellcome.ac.uk A girl with multiple cerebral-spinal sclerosis walking with a nurse. Collotype after Eadweard Muybridge, 1887. One of 781 collotypes which form Eadweard Muybridge\'s magnum opus, Animal locomotion, 1887. This work originated in an attempt to settle the argument which arose in 1871 between Leland Stanford, president of the Central Pacific Railroad, and Robert Bonner, owner of the New York Ledger, as to whether a trotting horse ever had all four feet off the ground at once. Both men were prepared to enter the controversy fully and to contribute ideas and practical means to prove his side of the argument. Muybridge\'s solution was to photograph each stage in the trot of a horse called Occident owned by Stanford. Some of Muybridge\'s photographs did appear to show Occident with all four of his feet lifted at the same time clear of the ground. The research and photography for Animal Locomotion was carried out for the University of Pennsylvania in 1884-1885, using and improving the techniques developed in the 1870s. Of the 781 plates, 95 were devoted to the horse and 124 to other animals. The other 562 are devoted to men, women, and children, nude, semi-nude, and draped, walking, running, dancing, getting up and lying down, wrestling, boxing, leaping, etc. For further information see G. Hendricks, Eadweard Muybrige, London 1975, and R.B. Haas, Muybridge: man in motion, Berkeley 1976 Plate to: E. Muybridge, Animal locomotion, Philadelphia 1887, plate 541 1887 By: University of Pennsylvania. and Eadweard MuybridgePublished: 1887 Printed: 1887) Copyrighted work available under Creative Commons by-nc 2.0 UK, see http://images.wellcome.ac.uk/indexplus/page/Prices.html";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In a series of black and white photographs, a naked woman with an orthopaedic disability walks with the aid of a clothed attendant. The photographs are presented in a table with three rows and twelve columns. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1880 to 1901 Description An account of the resource Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Animal Locomotion Description An account of the resource In 1887, <a title="Wikipedia Muybridge Entry" href="http://en.wikipedia.org/wiki/Eadweard_Muybridge" target="_blank">Eadweard Muybridge</a> (1830-1904), the American photographer, published Animal Locomotion: An Electro-Photographic Investigation of Consecutive Phases of Animal Movement, an eleven-volume collection of photographs of instantaneous or consecutive movement. It features photographs of ‘abnormal movement,’ including: An amputee on crutches, <a title="Wellcome Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185959" target="_blank">plate 537</a>; A double amputee climbing on to a chair, descending from a chair and moving, <a title="Wellcome Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185960" target="_blank">plate 538</a>; Deformed child walking on arms and legs,<a title="Wellcome Images" href="http://catalogue.wellcomelibrary.org/record=b1658436" target="_blank"> plate 539</a>; A girl with multiple cerebral-spinal sclerosis walking with a nurse, <a title="Wellcome Library Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185962" target="_blank">plate 541</a>. Figures were photographed without clothes, allowing for the unobstructed scrutiny of their bodies, and in front of grids, which invited viewers to treat the pictures as scientific studies. In Animal Locomotion, Muybridge arranged his photographs according to a hierarchy, with male and female nudes presented in the first volumes, followed by draped males and females, then children. Volume 8, which was devoted to the abnormal movements of males, females and children, appeared ahead of photographs of animals, domestic and wild. By arranging the photographs in this way, Muybridge positioned those with disabilities lower than those with ‘healthy’ bodies and just above animals. He also included photographs of athletes, which juxtaposed his photographs of the disabled, in turn reflecting late nineteenth-century conceptions of health and beauty, which proved especially relevant for artists and scientists of the day. Muybridge is considered to be an important figure in the history of photography and cinema. Creator An entity primarily responsible for making the resource Muybridge, Eadweard Date A point or period of time associated with an event in the lifecycle of the resource 1887 Contributor An entity responsible for making contributions to the resource Keren Hammerschlag Rights Information about rights held in and over the resource Four series of photographs, each with between twelve and forty five frames, show people with disabilities, naked, in various stages of locomotion.  There is a man on crutches walking, a man with no legs getting on and off a chair, a disabled child crawling, and a woman with an orthopaedic disability walking with the aid of a clothed attendant.  Eadweard Muybridge, Animal Locomotion: An Electro-Photographic Investigation of Consecutive Phases of Animal Movements.  Courtesy of the <a title="Wellcome Images" href="http://images.wellcome.ac.uk/" target="_blank">Wellcome Library, London</a> under a Creative Commons License (<a title="Wellcome Library Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185959" target="_blank">Wellcome Library no. 28116</a>i; <a title="Wellcome Library Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185960" target="_blank">Wellcome Library no. 28117i</a>; <a title="Wellcome Library Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185961" target="_blank">Wellcome Library no. 28118i</a>; and <a title="Wellcome Library Catalogue" href="http://catalogue.wellcomelibrary.org/record=b1185962" target="_blank">Wellcome Library no. 28119i</a>). Relation A related resource <ul> <li>Eadweard Muybridge, Animal Locomotion: An Electro-Photographic Investigation of Consecutive Phases of Animal Movements. 1872-1885. 11 vols., 781 plates. Philadelphia: University of Pennslyvania, 1887.</li> <li>Philip Brookman, with contributions by Martha Braun, Andy Grundberg, Corey Keller, Rebecca Solnit, Eadweard Muybridge, exhibition catalogue, London: Tate Publishing, 2010.</li> <li>Eadweard Muybridge:  Defining Modernities. Kingston University and Kingston Museum, UK.  <a title="Eadweard Muybridge Site" href="http://www.eadweardmuybridge.co.uk/" target="_blank">http://www.eadweardmuybridge.co.uk/</a></li> </ul> Childhood Eadweard Muybridge Invalidism Mobility Photography Visual Culture https://nineteenthcenturydisability.org/files/original/3682d8c699e444ae4b5f5e8261af025a.gif d5a1aa8b3e55908850d3253e007aba83 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 312 Height 429 Bit Depth 8 Channels 3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource The illustration shows Phineas on crutches in the foreground with Jael, looking towards John Halifax, who is walking toward him carrying a hobo's bindle à la Dick Whittington. The caption reads: “I smiled, for I, at least, had no difficulty in recognizing John Halifax.” Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1837 to 1860 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. I lifted myself, and began looking for my crutches. John found them and put them into my hand, with a grave, pitiful look. “You don’t need those sort of things,” I said, making pretense to laugh, for I had not grown used to them and felt often ashamed. “I hope you will not need them always.” “Perhaps not—Doctor Jessup isn’t sure. But it doesn’t matter much; most likely I shan’t live long.” For this was, God forgive me, always the last and greatest comfort I had. John looked at me—surprised, troubled, compassionate—but he did not say a word. I hobbled past him; he following through the long passage to the garden door. There I paused—tired out. John Halifax took gentle hold of my shoulder. “I think, if you did not mind, I’m sure I could carry you. I carried a meal sack once, weighing eight stone.” I burst out laughing, which may be was what he wanted, and forthwith consented to assume the place of the meal sack. He took me on his back—what a strong fellow he was!—and fairly trotted with me down the garden walk. We were both very merry, and though I was his senior, I seemed with him, out of my great weakness and infirmity, to feel almost like a child. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Halifax, Gentleman Description An account of the resource Dinah Mulock Craik’s (1826-1887) novel John Halifax, Gentleman (1856) follows John Halifax’s journey from an impoverished orphan boy to self-made tradesman hero. As their friendship unfolds, Phineas Fletcher, the novel’s disabled first-person narrator, relates John’s narrative of heroic strength, and the invalid’s physical immobility and pre-bachelor dandy femininity forms a stark contrast to the masculine strength of John Halifax. Scenes depicting Phineas’s admiration of John’s able body and John’s tenderness as he carries his feeble friend in strong arms emit a homoerotic charge that was apparent even to Craik’s contemporary readers. Victorian critic R.H. Hutton remarked, “it is hard to suppress the fear that Phineas Fletcher will fall hopelessly in love with John Halifax, so hard is it to remember that Phineas is of the male sex” (258). Modern critics continue to remark on Phineas’s femininity its possible impact in making the novel popular with an audience of middle-class women readers. For instance, Kiran Mascarenhas interprets Phineas as a stand-in for the female novel reader, observing that his “repression and circumscription makes him a character that they identify with, and along with whom they could look—with some longing—at John, the epitome of ideal masculinity” (257). Craik wrote extensively about the lives of disabled men and women in Victorian society, with many of her novels, such as Olive (1850), A Noble Life (1866), and The Little Lame Prince (1875) offering complex and often contradictory representations of the experiences of disabled protagonists. Phineas is no exception, and scholars continue to debate about whether Phineas provides a positive glimpse into the pleasures of bachelor invalid domesticity or serves as a helpless, negative foil to John’s middle class determination. In either case, the relationship between Phineas and John underscores the importance of caring for one another; John’s tenderness with Phineas proves as important to his development as gentleman as his devotion to labor. In the following excerpt, John has just met Phineas for the first time after Phineas’s father, Abel Fletcher, trusts Phineas to the strong young man’s care. John’s body willingness to carry not only a heavy meal sack, but also its human equivalent—a weary Phineas— underscores his value as both a hearty, masculine laborer and a gentle caretaker. Creator An entity primarily responsible for making the resource Craik, Dinah Mulock Source A related resource from which the described resource is derived Craik, Dinah Mulock. John Halifax, Gentleman. 1856. Ed. Lynn M. Alexander. Peterborough, ON: Broadview Press, 2005. Page 43. Date A point or period of time associated with an event in the lifecycle of the resource 1856 Contributor An entity responsible for making contributions to the resource Melina Moore Rights Information about rights held in and over the resource The illustration shows Phineas on crutches in the foreground with Jael, looking towards John Halifax, who is walking toward him carrying a hobo's bindle à la Dick Whittington. The caption reads: “I smiled, for I, at least, had no difficulty in recognizing John Halifax.” John Halifax, Gentlemen (New York: Thomas Y. Crowell Company, Publishers, 1897). Relation A related resource <ul><li>R.H. Hutton, “Novels by the Authoress of ‘John Halifax.’” North British Review 29 (1858)</li> <li>Holmes, Martha Stoddard. Fictions of Affliction: Physical Disability in Victorian Culture, The Corporealities Series (Ann Arbour: U of Michigan P, 2004). </li> <li>Mascarenhas, Kiran. “John Halifax: A Counter Story,” Antifeminism and the Victorian Novel: Rereading Nineteenth-Century Woman Writers (Amherst, NY: Cambria Press, 2009) 255-269.</li> <li>Mitchell, Sally. Dinah Mulock Craik. Boston: Twayne Publishers, 1983. Available online: <<a href="http://www.victorianweb.org/authors/craik/index.html">http://www.victorianweb.org/authors/craik/index.html</a>></li> <li>Sussman, Herbert. Victorian Masculinities: Manhood and Masculine Poetics in Early Victorian Literature and Art. Cambridge University Press, [1995] 2008.</li> </ul> Language A language of the resource English Class Dinah Mulock Craik Gender Literature Mobility Novel https://nineteenthcenturydisability.org/files/original/e395394a0d67c1b013c123fd275dcabf.jpg 4bf7790948a346849fd6971aa32d5980 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 635 Height 800 Bit Depth 8 Channels 3 IPTC String caption:by FranÁois Theodore Rochard, watercolour, 1846 caption_writer:National Portrait Gallery London - www.npg.org.uk headline:NPG 4381; Martin Farquhar Tupper by FranÁois Theodore Rochard special_instructions:Unauthorised reproduction prohibited. For authorisation contact rightsandimages@npg.org.uk www.npg.org.uk byline:National Portrait Gallery London - www.npg.org.uk byline_title:Rights and Images Department credit:National Portrait Gallery London source:National Portrait Gallery London object_name:NPG 4381; Martin Farquhar Tupper date_created:02.05.2012 city:London, St Martin's Place, WC2 0HE country:United Kingdom copyright_notice:© National Portrait Gallery, London IPTC Array a:13:{s:7:"caption";s:48:"by FranÁois Theodore Rochard, watercolour, 1846";s:14:"caption_writer";s:49:"National Portrait Gallery London - www.npg.org.uk";s:8:"headline";s:62:"NPG 4381; Martin Farquhar Tupper by FranÁois Theodore Rochard";s:20:"special_instructions";s:105:"Unauthorised reproduction prohibited. For authorisation contact rightsandimages@npg.org.uk www.npg.org.uk";s:6:"byline";s:49:"National Portrait Gallery London - www.npg.org.uk";s:12:"byline_title";s:28:"Rights and Images Department";s:6:"credit";s:32:"National Portrait Gallery London";s:6:"source";s:32:"National Portrait Gallery London";s:11:"object_name";s:32:"NPG 4381; Martin Farquhar Tupper";s:12:"date_created";s:10:"02.05.2012";s:4:"city";s:34:"London, St Martin's Place, WC2 0HE";s:7:"country";s:14:"United Kingdom";s:16:"copyright_notice";s:36:"© National Portrait Gallery, London";} Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource This watercolour, in an ornate frame, shows a dapper Martin Tupper leaning against a wall, hat in hand. Martin Farquhar Tupper by François Theodore Rochard. Watercolour, 1846. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1837 to 1860 Description An account of the resource Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Ah! think it not a light calamity To be denied free converse with my kind, To be debarred from man’s true attribute, The proper glorious privilege of Speech. Hast ever seen an eagle chain’d to earth? A restless panther in his cage immured? A swift trout by the wily fisher checked? A wild bird hopeless strain its broken wing? Hast ever felt, at the dark dead of night, Some undefined and horrid incubus Press down the very soul, — and paralyse The limbs in their imaginary flight From shadowy terrors in unhallowed sleep? Hast ever known the sudden icy chill Of dreary disappointment, as it dashes The sweet cup of anticipated bliss From the parched lips of long-enduring hope? Then thou canst picture, — aye, in sober truth, In real, unexaggerated truth, — The constant, galling, festering chain that binds Captive my mute interpreter of thought; The seal of lead enstamp’d upon my lips, The load of iron on my labouring chest, The mocking demon that at every step Haunts me, — and spurs me on—to burst with silence! Oh! tis a sore affliction to restrain, From mere necessity, the glowing thought; To feel the fluent cataract of speech Check’d by some wintry spell, and frozen up, Just as it leapeth from the precipice! To be the butt of wordy captious fools, And see the sneering self-complacent smile Of victory on their lips, when I might prove, (But for some little word I dare not utter,) That innate truth is not a specious lie: To hear foul slander blast an honour’d name, Yet breathe no fact to drive the fiend away: To mark neglected virtue in the dust, Yet have no word to pity or console: To feel just indignation swell my breast, Yet know the fountain of my wrath is sealed: To see my fellow-mortals hurrying on Down the steep cliff of crime, down to perdition, Yet have no voice to warn, — no voice to win! ‘Tis to be mortified in every point, Baffled at every turn of life, for want Of that most common privilege of man, The merest drag of gorged society, Words, — windy words. And is it not in truth, A poison’d sting in every social joy, A thorn that rankles in the writhing flesh, A drop of gall in each domestic sweet, An irritating petty misery, That I can never look on one I love, And speak the fullness of my burning thoughts? That I can never with unmingled joy Meet a long-loved and long-expected friend, Because I feel, but cannot vent my feelings, — Because I know I ought,—but must not speak, Because I mark his quick impatient eye Striving in kindness to anticipate The word of welcome, strangled in its birth! Is it not sorrow, while I truly love Sweet social converse, to be forced to shun The happy circle, from a nervous sense, An agonizing poignant consciousness That I must stand aloof, nor mingle with The wise and good, in rational argument, The young in brilliant quickness of reply, Friendship's ingenuous interchange of mind, Affection’s open-hearted sympathies, But feel myself an isolated being, A very wilderness of widow’d thought! Aye, ‘tis a bitter thing, — and not less bitter Because it is not reckoned in the ills, “The thousand natural shocks that flesh is heir to;” Yet the full ocean is but countless drops, And misery is an aggregate of tears, And life, replete with small annoyances, Is but one long protracted scene of sorrow. I scarce would wonder, if a godless man, (I name not him whose hope is heavenward,) A man, whom lying vanities hath scath’d And harden’d from all fear, — if such an one By this tyrannical Argus goaded on Were to be wearied of his very life, And daily, hourly foiled in social converse, By the slow simmering of disappointment Become a sour’d and apathetic being, Were to feel rapture at the approach of death, And long for his dark hope, — annihilation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Stammerer's Complaint Description An account of the resource Most celebrated, and often ridiculed, in the Victorian era for his Proverbial Philosophy, <a title="Martin Tupper Wikipedia Entry" href="http://en.wikipedia.org/wiki/Martin_Farquhar_Tupper" target="_blank">Martin Farquhar Tupper</a> (1810-1889) was one of the most popular poets of the nineteenth century. His poem “The Stammerer’s Complaint” (1838) is one of the nineteenth century’s most provocative first-hand accounts of the mysterious condition of stuttering. A life-long stutterer, Tupper introduces a poetics of the stutterer’s melancholic disposition. The poem appeared in an era that had increasingly turned its attention to the causes and cures of a condition that still confounds doctors, therapists, and researchers today. “The Stammerer’s Complaint” reflects the sense that medical and elocutionary experts of the period had of the melancholia of the person who stutters. Composed of precise iambic pentameter lines, Tupper’s poem is essentially a fantasy of fluent speech from the lyric voice of a poet who laments being excluded from even the most basic privileges of communication granted to fluent speakers. The fantasy reaches a climax as Tupper’s speaker (presumably Tupper himself) imagines the self-annihilation that would result when “wordy captious fools” (l. 31), now become “godless” (l. 82), were to be forced to feel the misery, isolation, and loneliness that is the stammerer’s lot in life. Throughout the nineteenth century, representations of stuttering were fraught with stereotypes, misconceptions, and jokes at the expense of people who stutter. Even those, such as Wright in his The Stutterer's Friend (1843), who promoted the rights of people who stutter against the promotion of dangerous surgical “cures” in the early 1840s, admitted that stuttering is a woefully debilitating disorder that completely bars people who stutter from even the most tolerant and inclusive of conversations. Tupper’s poem demonstrates the longing for fluent speech that was rampant throughout the nineteenth century, a period that promoted a seemingly endless number of systems of cure for disfluent speech, many of which resulted in a further spiraling of melancholia for people who stutter as they sought the privileges of “normal” speech. Creator An entity primarily responsible for making the resource Tupper, Martin Source A related resource from which the described resource is derived Tupper, Martin. “The Stammerer’s Complaint.” Geraldine, A Sequel to Coleridge’s Christabel: with Other Poems (London: Rickerby, 1838). 119-23. Print. The poem can also be accessed here: <a href="http://archive.org/stream/geraldineaseque01colegoog#page/n5/mode/2up">http://archive.org/stream/geraldineaseque01colegoog#page/n5/mode/2up</a> Publisher An entity responsible for making the resource available Rickerby Date A point or period of time associated with an event in the lifecycle of the resource 1838 Contributor An entity responsible for making contributions to the resource Daniel Martin Rights Information about rights held in and over the resource This watercolour, in an ornate frame, shows a dapper Martin Tupper leaning against a wall, hat in hand. <a href="http://www.npg.org.uk/collections/search/portrait/mw06416/Martin-Farquhar-Tupper?">Martin Farquhar Tupper</a> by François Theodore Rochard. Watercolour, 1846. NPG 4381. Courtesy <a title="National Portrait Gallery Link" href="http://www.npg.org.uk/" target="_blank">National Portrait Gallery</a> under a Creative Commons License (<a title="National Portrait Gallery" href="http://www.npg.org.uk/collections/search/portrait/mw06416/Martin-Farquhar-Tupper?LinkID=mp04561&search=sas&sText=martin+tupper&role=sit&rNo=0" target="_blank">NPG 4381</a>). Relation A related resource <ul><li>Rockey, Denyse. Speech Disorder in Nineteenth Century Britain: The History of Stuttering. London: Croom Helm, 1980. Print.</li> <li>Shell, Marc. Stutter. Cambridge: Harvard UP, 2005. Print.</li> <li>Wingate, Marcel E. Stuttering: A Short History of a Curious Disorder. Westport: Bergin & Garvey, 1997. Print. </li> </ul> Language A language of the resource English Audio Culture Literature Martin Tupper Non-Standard Language Poetry