William Bennett's Heresy: Male Same-Sex Desire and the Art of the Eucharist

In 1869, W.J.E. Bennett, one of the most prominent Anglo-Catholic ritualists in Victorian England, was on trial for heresy. He had caused particular outrage by claiming that Jesus Christ was visually present in the Eucharist. This article explores the links between Bennett's writings and his campaign of rebuilding works at his parish church at Frome in Somerset. Bennett advanced a form of incarnational theology that was sufficiently radical that he can be said to have participated in, and even to have contributed to, the development of the visual expression of same-sex desire in later Victorian Britain. The cultural politics of the aestheticized body of Christ mean that incarnational theology can be considered in relation to the development of new forms of homoerotic expression. Bennett's visual and textual legacy suggests avenues for further research into the aesthetic aspects of Victorian religiosity and the religiosity of art.     

Fashioning Michael Field: Michael Field and Late-Victorian Dress Culture

This article explores how the late-Victorian poets Katharine Bradley and Edith Cooper, who wrote under the collaborative pseudonym Michael Field, used fashionable dress to construct and advertise their unique poetic identity. Using evidence from their journal Works and Days, I contextualise Bradley and Cooper's clothing in terms of late-Victorian dress culture, and the major dress reform movements of the nineteenth century. I demonstrate that Bradley and Cooper used fashion as a distinctively feminine way of participating in aesthetic culture, marking significant life events, and to advertise their poetic identity. This self-fashioning also exposed them to aesthetic scrutiny from their peers Oscar Wilde and Bernard Berenson. Finally, I argue that fashion played a crucial role in Bradley and Cooper's desire for one another – and that this desire can be understood in terms of erotic reciprocity.     

Kaleidoscopism: The Circulation of a Mid-Century Metaphor and Motif

Abstract

This essay traces the mid-century revival of interest in a particular nineteenth-century optical technology – David Brewster’s kaleidoscope – following P. B. Shelley’s coining of the term ‘kalleidoscopism’ to describe the broad popular appeal and enthusiastic uptake of the device in the late 1810s. Through an examination of mid-nineteenth-century fiction, journalism, and scientific writing, this essay explores what it meant to be ‘kaleidoscopic’ in this period and demonstrates how the mechanical structure and physical manipulation of the device informed this meaning. Controlled by the hand of the user, its display offered regulated surprise: a visual environment that did not overwhelm but rather enthralled viewers through its creation of abstracted, symmetrical forms and harmonious colour palettes led by individual taste. Contemporary reference to the kaleidoscope’s display and operation reveals it was increasingly aligned with notions of a stable, controlled, and unified visual environment in which mobility was valued but digression was mechanically impossible; it signalled the mastery of sensory data and the creation of meaning from fractured forms. My discussion uncovers new contexts for its popularity c. 1840–1865 in Victorian fiction, journalism, physiological science, and the fine arts, and discusses two under-studied examples of the kaleidoscopic in the visual art of the Pre-Raphaelites. The essay concludes by exploring Brewster’s speculative application of the kaleidoscope as an early form of cinematic media, contending that this simple optical device provokes a reconsideration of the categorization of Victorian pre-cinematic technologies.