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Folio 25 contains a full page (p. 16) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are on the Blackwood's page but not on the margins of the page except for the folio number.

Folio 25

Folio 24 contains a full page (p. 15) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are on the Blackwood's page as well as into the margins of the noetbook page. Lengthier additions are annotated in the bottom margin. There is also a partly visible circled "INS" written on the notebook page that is mostly covered with the Blackwood's page. This annotation seems to refer to Wilde's insertion at the bottom of the page.

Folio 24

Folio 23 contains a full page (p. 14) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are on the Blackwood's page but not on the margins of the page except for the folio number. There is a pencil marking (4/9/4?) in the left hand margin which may not be in Wilde's hand and it is unclear what this marking might refer to.

Folio 23

Folio 22 is a handwritten notebook page with no cutouts. There is space at the bottom for Wilde to continue, but he ends with "To" seemingly in order to have the Blackwood's page on Folio 23 pick up where this page leaves off.

Folio 22

Folio 21 is a handwritten notebook page with no cutouts.

Folio 21

Folio 20 is a handwritten notebook page with no cutouts.

Folio 20

Folio 19 is a handwritten notebook page with no cutouts.

Folio 19

Folio 18 continues from folio 17 in Wilde's handwriting and then includes a full page of text from p. 13 of Blackwood's 1889 version glued into the notebook page with annotations within the page. This page is cropped on the top margin which removes the heading with year, title, and page number. The bottom is also cropped to remove the bottom margin.

Folio 18

Folio 17 contains a brief continuation of the handwriting from folio 16 followed by a cutout from one column of the upper right portion of p. 12 of the Blackwood's 1889 printing glued down onto the notebook page. Wilde makes annotations on the Blackwood's cutout. Wilde's addition below the cutout is nearly the same text as that in the Blackwood's version.

Folio 17

Folio 16 contains a cutout from one column of the upper left portion of p. 12 of the Blackwood's 1889 printing glued down onto the notebook page. Wilde makes annotations on the Blackwood's cutout and a lengthy addition below it.

Folio 16

Folio 15

Folio 14 is a handwritten notebook page with no cutouts.

Folio 14

Folio 13 is a handwritten notebook page with no cutouts.

Folio 13

Folio 12 is a handwritten notebook (Wilde's handwriting) page with no cutouts.

Folio 12

Folio 11 contains two cutouts from the upper portion of p. 11 of the Blackwood's 1889 printing glued down into a single column onto a notebook page. Wilde makes annotations on the Blackwood's cutouts and a lengthy addition below.

Folio 11

Folio 10 contains a full page (p.2) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are both on the Blackwood's page and run off into the margins of the notebook page.

Folio 10

Folio 9 contains a full page (p.9) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are both on the Blackwood's page and additions in the top and bottom margins of the notebook page.

Folio 9

Folio 8 contains a full page (p.8) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are only on the Blackwood's page except for the folio number in the upper right corner. There is also a penciled in "2" in the upper left corner which does not seem to match Wilde's handwriting.

Folio 8

Folio 7 contains a full page (p.7) from the Blackwood's 1889 printing glued down onto a notebook page. Wilde's annotations are both on the Blackwood's page and an addition in the upper margin of the notebook.

Folio 7

Folio 6 contains a full page from Blackwood's p.6 with annotations in Wilde's hand

Folio 6

Folio 5 contains

Folio 5

Folio 4 contains a full page 4 from Blackwood's printing annotated in Wilde's hand.

Folio 4

Folio 3 with Wilde's handwritten annotations in the margins of the page.

Folio 3

Folio 2, full page of Blackwood's p.2 with annotations in Wilde's handwriting, some going into the margins of the notebook page which it is glued on.

Folio 2

Back side of Folio 1, page 2 of Wilde's Blackwood's July 1889 publication. No markings other than a penciled call number in the top left hand corner.

Folio 1 (Verso)

Folio 1 is a loose leaf of the July 1889 printing of the first page of Blackwood's Edinburgh Magazine. There are no markings on this page except for a number "1" in square brackets in the upper right corner which does not seem to be in Wilde's handwriting. This page is not affixed into notebook in the same manner as other pages from Blackwood's in the manuscript. There is a brown stain on the top center of the page that may resemble the color of the stain on the cutout in folio 15.

Folio 1 (Recto)

SAMPLE: Picturing Disability in Dickens's A Christmas Carol

Finden's Tableaux Sample

Sample from Finden's Tableaux

'Portrait of Thomas Combe’ by William Holman Hunt - 1860.

1860

‘Jane Morris in traditional Icelandic costume’ by Dante Gabriel Rossetti - 1873

circa. 1873

The protagonist of John Keats' Eve of St Agnes Madeline stands in the middle of a bedroom in her bodice with her dress around her knees. She is lit with a lattice effect from a stained glass window which bathes her in a teal light. She is at the foot of a four poster bed.

John Everett Millais - The Eve of St Agnes

1863

A scene from John Keats' poem 'Isabella', painted in medieval inspired style. Isabella sits at the dining table beside her lover Lorenzo, who looks on her intensely, and opposite her brothers. A lurcher stands with its head in her lap. The brothers wear red while Isabella wears silver. The brother who sits opposite has his leg outstretched across the foreground of the painting with his toes touching the lurcher.

John Everett Millais - Lorenzo and Isabella

circa. 1848

Hunt's painting shows Keats' Isabella leaning toward her pot of basil, with her long dark hair draped over the pot

William Holman Hunt - Isabella and the Pot of Basil

1866

The painting depicts Tennyson's 'The Lady of Shalott' sitting upright in a boat with a solemn expression. She is surrounded by red and brown vegetation

John William Waterhouse - The Lady of Shalott

1888

Alternate Text: A woman in a green dress sits in front of an open window with a blue curtain behind her. She is look into the distance, not at the viewer, or out of the window but off to the left hand side of the image

Marie Spartali Stillman - Mariana

1867

The painting depicts Shakespeare's 'Ophelia' in Hamlet advancing from a log towards water, in the centre of the painting

Arthur Hughes - Ophelia

1852

A painting depicting Shakespeare's 'Ophelia' who lay in a lake after dying, surrounded by green vegetation

John Everett Millais - Ophelia

circa. 1851

A long green dress, with large sleeves and a gold belt. The dress, a Lady Macbeth costume made with beetles’ wings, is on a mannequin that is holding a crown above its head.

Lady Macbeth Costume

1889

Mariana by John Everett Millais - 1851

1851

Ophelia by John Everett Millais - 1851

1851

Proserpine (1880), coloured chalk

Proserpine 1874 - Oil on canvas

Proserpine (1871), Pen and brown ink

Pre-Raphaelites

Proserpine (1882): Jane Morris or Elizabeth Siddal?

19th century

Pre-Raphaelites

Proserpine, sixth version (1877), oil on canvas

19th century

Pre-Raphaelites

Composition Study - Proserpine, 1871

19th century

Folio 19

1890

Proserpine DGR - Watercolour

Proserpine (1878), watercolour

1878

Sketch of Jane Morris by Rossetti

Mrs Morris, or Study for Proserpine (1873)

Jan 1873

Found – Gabriel Rossetti – Completed 1881

1881