Monster soup: the microscope and Victorian fantasy

Abstract

The Victorian predilection for the grotesque owed more than is commonly recognised to nature's microdimension. During the heyday of natural history in Britain (c. 1820–70), the microscope revealed myriads of shapes and creatures so utterly unfamiliar that writers on the subject resorted to flamboyant prose in order to render them intelligible. This had reverberations not least for the visual arts. The metaphors chosen by authors attempting to describe the microscopic world soon developed a visual presence, with supernatural features being projected even onto illustrations in supposedly scientific contexts. At the same time, such illustrations share certain motifs and/or stylistic characteristics with fairy paintings and illustrations by artists such as Daniel Maclise (1806–70), Richard Dadd (1817–86), Sir Joseph Noel Paton (1821–1901), and Arthur Hughes (1832–1915). In view of this, the fact that the golden age of British fairy painting coincided chronologically with the Victorian craze for microscopy seems to be the result of more than mere chance. If we acknowledge this, we must also ask whether, in the mid nineteenth century, points of contact between microscopy and the visual arts led to a liberation or else a limitation of fantasy.