There is, however, a more striking omission from Wright's account: the book contains no illustrations, of the institution, its inmates, or (less importantly) the pioneers of voluntary idiot asylums. For document-minded historians this may seem a minor quibble, and yet there is a serious historiographical point here. At one point in the text, Wright refers briefly to growing contemporary preoccupations with the appearance of idiot children as a means of identifying and classifying deficiency (pp. 64-5). And at several points, he quotes Andrew Reed's pleasure at the intrinsic and striking beauty of Earlswood's façade (p. 42), or refers to contemporary illustrations of its majestic buildings (p. 141). Such references are apposite. Increasing the visibility of defectives and making manifest philanthropic endeavours were equally crucial features of Victorian and Edwardian attempts at social improvement. And yet, in Wright's account, the reader is given no visual indications of the features of idiocy that proved decisive or of the particular architectural facets of the asylum that prompted admiration. By omitting visual images, Wright (or perhaps the publisher) has denied his readers (and there should be many) of perhaps the most potent evidence of Victorian aspirations and follies.
It had an effect on the country insomuch as the country people ceased to be extravagant in the materials for garments and in many like ways, and so lay by good fortunes for their families - these families coming later into the gay court of had all the more to lavish on the follies of his fashions. The Puritan is as well-known a figure as any in history; an intelligent child could draw you a picture or describe you a Puritan as well as he could describe the Noah of Noah's Ark. He has become part of the stock for an Academy humourist, a thousand anecdote pictures have been painted of him; very often his nose is red, generally he has a book in his hand, laughing maids bring him jacks of ale, jeering Cavaliers swagger past him: his black cloak, board shoes, wide Geneva bands are as much part of our national picture as Punch or Harlequin. The Puritaness is also known.
are the outstanding progresses in the Victorian Era
Or in the writings of Tertullian, called by Sigismund Feyerabendt, citizen and printer of Frankfort, a 'most strict censor who most severely blames women:' 'Come now,' says Tertullian, 'if from the first both the Milesians sheared sheep, and the Chinese spun from the tree, and the Tyrians dyed and the Phrygians embroidered, and the Babylonians inwove; and if pearls shone and rubies flashed, if gold itself, too, came up from the earth with the desire for it; and if now, too, no lying but the mirror's were allowed, Eve, I suppose, would have desired these things on her expulsion from Paradise, and when spiritually dead.'
King Henry VIII Costume 1509-1547 English …
Some years after first witnessing the asylum's architecture from the carriage windows, I became more closely acquainted with the institution and its inhabitants. While striving for my gold Duke of Edinburgh's award in the late 1970s (at the precise moment when governments were initiating the gradual phasing out of institutional incarceration), I spent one afternoon each week working, along with several school-friends, in one of the outlying modern villas on the extensive asylum estate. During our time there, we assisted and cared particularly for people with multiple and severe disabilities, those deemed unsuitable for immediate release into the community. On one occasion, I ventured on an errand into the main building that had been erected over a hundred years earlier in the 1850s. Although faded and damaged by many decades of neglect, the internal design of Earlswood, like the external façade, still presented an imposing, even awe-inspiring, vision of grandiose Victorian aspirations.
Jane Austen's Vocabulary From Emma - Geri Walton
“The press will be the monuments from which the genius of British women will rise to immortal celebrity: their works will, in proportion as their educations are liberal, from year to year, challenge an equal portion of fame, with the labours of their classical male contemporaries.”