THE PHOTOGRAPHS OF F R E D E R I C K H.

E V A N S
 I THE PHOTOGRAPHS of |

Frederick H . Evans

Anne M . Lyden
w i t h a n e s s a y by H o p e K i n g s l e y

T h e J . P a u l Getty M u s e u m , L o s Angeles
T h i s publication was p r o d u c e d to accompany
the e x h i b i t i o n A R e c o r d of E m o t i o n : T h e P h o t o g r a p h s
of F r e d e r i c k H . E v a n s , held at the J . P a u l Getty M u s e u m ,
L o s Angeles, and at the National M e d i a M u s e u m ,
B r a d f o r d , E n g l a n d . T h e e x h i b i t i o n w i l l be on v i e w
in L o s Angeles from F e b r u a r y 2 to J u n e 6 , 2 0 1 0 , and i n
B r a d f o r d from September 2 4 , 2 0 1 0 , to F e b r u a r y 2 0 , 2 0 1 1 .
© 2010 J . P a u l G e t t y T r u s t
5 4 3 2 1
P u b l i s h e d by the J . P a u l Getty M u s e u m
G e t t y Publications
1200 G e t t y C e n t e r D r i v e , Suite 5 0 0
L o s Angeles, C a l i f o r n i a 9 0 0 4 9 - 1 6 8 2
www.getty.edu/publications
Gregory M . Britton, P u b l i s h e r
Dinah Berland, E d i t o r
Katya Rice, M a n u s c r i p t Editor
Jeffrey C o h e n , D e s i g n e r
A m i t a Molloy, P r o d u c t i o n Coordinator
J a c k R o s s , Stacey R a i n Striclder, T r i c i a Z i g m u n d ,
Photographers
Johana Herrera, I m a g i n g Technician
T y p e s e t t i n g by D i a n e F r a n c o
C o l o r separations by Professional G r a p h i c s I n c . ,
Rockford, Illinois
P r i n t e d i n C h i n a through O c e a n i c G r a p h i c
Printing, Inc.
F R O N T J A C K E T : Frederick H . Evans (English,
1853-1943), S o u t h w e l l C a t h e d r a l , N o r t h Transept
T r i f o r i u m , 1898 (detail, plate 5 6 ) . P l a t i n u m
print, 9.5 x 11.6 c m ( 3 % x 4V16 i n . ) . L o s Angeles,
J . P a u l G e t t y M u s e u m 84.XM.444.46
B A C K J A C K E T : F r e d e r i c k H . E v a n s ( E n g l i s h , 1853-1943),
A b \ s . F r e d e r i c k E v a n s , ca. 1900 (see plate 120).
P l a t i n u m print, 17.6 x 13.4 c m ( 6 % x $ A i n . ) . X
L o s Angeles, J . P a u l Getty M u s e u m 84.XM.444.58
FRONTISPIECE: Frederick H . Evans (English,
1853-1943), "A Sea of S t e p s " — S t a i r s t o t h e C h a p t e r
H o u s e , W e l l s C a t h e d r a l , 1903 (see plate 6 7 ) ;
T H I S P A G E : F r e d e r i c k H . E v a n s ( E n g l i s h , 1853-1943),
S e l f - P o r t r a i t [ a t A u t u n ] , ca. 1900. P l a t i n u m print,
22.9 x 5.1 c m ( 9 x 2 i n . ) . L o s Angeles C o u n t y M u s e u m
o f A r t AC.1992.197.48; P A G E V I : [ W e l l s C a t h e d r a l : ]
A c r o s s W e s t E n d o f N a v e , 1890-1903 (detail, plate 6 4 ) ;
P A G E S x - x i : D u r h a m C a t h e d r a l f r o m t h e W e a r , 1911
(see plate 103); P A G E S 3 0 - 3 1 : K e l m s c o t t M a n o r : From
t h e G a r d e n , 1896 (see plate 29)
L i b r a r y o f Congress Cataloging-in-Publication Data
Lyden, Anne M . , 1972-
T h e photographs o f F r e d e r i c k H . E v a n s / A n n e M .
L y d e n ; w i t h an essay by H o p e Kingsley.
p. cm.
" P r o d u c e d to accompany the e x h i b i t i o n A record o f
emotion, the photographs o f F r e d e r i c k H . E v a n s , held at
the J . P a u l Getty M u s e u m from F e b r u a r y 2 to J u n e 6,
2010."
I n c l u d e s bibliographical references and i n d e x .
I S B N 9 7 8 - 0 - 8 9 2 3 6 - 9 8 8 - 1 (hardcover)
1. E v a n s , F r e d e r i c k H . — E x h i b i t i o n s . 2. A r c h i t e c t u r a l
photography—Great B r i t a i n — E x h i b i t i o n s .
3. L a n d s c a p e photography—Great B r i t a i n — E x h i b i t i o n s .
4. Photography, A r t i s t i c — E x h i b i t i o n s . 1. E v a n s ,
F r e d e r i c k H . 11. J . P a u l Getty M u s e u m , i n . T i t l e .
T R 6 4 7 . E 8 8 8 2010
779'.4-dc22
2009025719
ILLUSTRATION CREDITS
A l l w o r k s by F r e d e r i c k H . E v a n s reproduced i n this
publication are © M r s . J a n e t M . Stenner, sole grand­
daughter o f F r e d e r i c k H . E v a n s , w i t h the exception o f
fig. 21, w h i c h is i n the p u b l i c d o m a i n .
Illustrations o f all w o r k s r e p r o d u c e d i n this book are by
courtesy o f the institutions named i n the captions or
plate list at the back o f the book. A d d i t i o n a l illustration
credits are as follows: L o s Angeles C o u n t y M u s e u m o f
A r t : T h e A u d r e y and S y d n e y I r m a s C o l l e c t i o n ,
Photograph ©2009 M u s e u m A s s o c i a t e s / L A C M A , this
page; T h e Marjorie and L e o n a r d V e r n o n C o l l e c t i o n ,
gift o f the A n n e n b e r g F o u n d a t i o n , a c q u i r e d from
C a r o l V e r n o n a n d R o b e r t T u r b i n , Photograph ©2009
M u s e u m A s s o c i a t e s / L A C M A , fig. 13 and plates 21,27,
4 6 , 5 5 , 76 I National M e d i a M u s e u m , B r a d f o r d (by
courtesy o f the B o a r d o f T r u s t e e s o f the S c i e n c e
M u s e u m ) , figs. 1 , 1 8 , 1 9 , 2 5 , 2 6 a n d plates 6 , 1 3 , 2 6 , 3 8 ,
4 0 , 4 8 , 4 9 , 6 6 , 67, 7 8 , 84, 8 8 , 9 3 , 1 0 7 , 1 1 2 , 1 1 5 I
P h i l a d e l p h i a M u s e u m o f A r t : P u r c h a s e d w i t h funds
contributed by D o r o t h y N o r m a n , 1973, fig. 2 a n d plates
6 1 , 6 3 , 6 5 ; Gift o f T h e o d o r e T . N e w b o l d , 1975, plate 2;
P u r c h a s e d w i t h funds contributed by D o r o t h y N o r m a n
a n d w i t h the D i r e c t o r ' s D i s c r e t i o n a r y F u n d , 1968,
plates 3 , 8 , 1 6 , 1 0 8 , 1 1 4 ; F r o m the C o l l e c t i o n o f D o r o t h y
N o r m a n , 1970, plates 2 5 , 4 1 | T a t e Gallery, L o n d o n /
A r t R e s o u r c e , N e w Y o r k , fig. 12
N O T E : T i t l e s i n captions o f w o r k s by F r e d e r i c k H . E v a n s
are those used by the photographer, w i t h his p u n c t u ­
ation and spelling, a n d / o r p u b l i s h e d d u r i n g his lifetime.
A d d i t i o n s appear i n brackets.
 Contents

Vll

FOREWORD

MICHAEL BRAND

viii
ACKNOWLEDGMENTS

1
INTRODUCTION

Frederick H . E v a n s and the Right Moment

ANNE M. LYDEN

11
A R e c o r d of Emotion: T h e Architectural Photographs of Frederick H . Evans
ANNE M. LYDEN

19
T h e "Idler": Evans i n the L i n k e d R i n g Years
HOPE KINGSLEY

3A2
PLATES

Plate List • 150

Index • 157
 Foreword

R
anked as one of the leading pictorial photographers exhibition for their generosity and willingness to loan photo­
in the world, Frederick H . Evans (1853-1943) is known graphs from their collections: the Collection Centre Canadien
for his fine platinum prints of medieval cathedrals i n d'Architecture/Canadian Centre for Architecture, Montreal;
his native England. W h e n the J . Paul Getty Museum's Depart­ George E a s t m a n H o u s e International M u s e u m of Photogra­
ment o f Photographs was founded i n 1984, the M u s e u m phy and F i l m , Rochester, N e w Y o r k ; the L o s Angeles County
obtained a significant number of Evans prints through the ac­ Museum of Art; and the Philadelphia Museum of Art.
quisition of the Samuel J . Wagstaff collection. Relatively few of It is hoped that this publication and the exhibition it ac­
the pieces reproduced here have been exhibited or published. companies w i l l provide an opportunity for today's audiences
I n fact, the Getty M u s e u m ' s exhibition A R e c o r d of E m o t i o n : to view and be inspired by the photographs of F r e d e r i c k H .
T h e P h o t o g r a p h s of F r e d e r i c k H . E v a n s , w h i c h coincides with E v a n s , whose w o r k continues to reflect this great photogra­
the publication of this book, is the first large-scale exhibition pher's devotion to beauty i n all things.
of Evans's photographs i n almost thirty years. W h i l e his archi­
tectural images may be the best known, Evans's landscapes and
portraits are equally compelling.
The exhibition and this publication were generated
through the efforts o f the staff of the D e p a r t m e n t of Photo­
graphs. Special thanks are due to A n n e L y d e n , author of the
book and curator of the exhibition, for her expertise and dili­
gence in managing the entire project. I would like to extend my
gratitude to the National Media Museum, Bradford, England,
for not only graciously lending their fine platinum prints but
also serving as a venue for the exhibition i n E n g l a n d . I n addi­
tion, I offer my sincere thanks to all the other lenders to this

MICHAEL BRAND

D i r e c t o r , The J . P a u l Getty Museum

Vll
 Acknowledgments
C
reating a publication is not a solo task; there are many
people involved, and their contributions, both great
and small, are essential to the overall s u c c e s s o f the
project. I w o u l d like to take this opportunity to thank all of the
colleagues, collectors, friends, and family who assisted me on
this publication.
First I w o u l d like to offer a very special thank-you to M r s .
Janet Stenner, granddaughter of Frederick H . Evans. Without
her k i n d collaboration and assistance, this publication w o u l d
not have been possible.
I n the Department of Photographs at the J . Paul Getty
M u s e u m , I w o u l d like to thank J u d i t h Keller, acting senior
curator of photographs, who offered guidance and enthusiastic
support to the project's successful completion. Special thanks
are also due to M i c h a e l Hargraves, research associate, w h o
catalogued all the E v a n s prints w i t h i n the Getty holdings;
A n n e Lacoste, assistant curator, w h o arranged for the photog­
raphy of the prints; Virginia Heckert, associate curator, who
was often the sounding board to early ideas; and L i n d s a y
Blumenfeld, staff assistant, w h o frequently came to the fore to
assist me w i t h the numerous tasks related to the book. T h e
entire staff o f the Department o f Photographs has been sup­
portive of this project, and I am grateful to all of them: Brett
vm
Abbott, E r i n Garcia, Paul Martineau, Marisa Weintraub, E d i e
W u , and departmental volunteer A n n M c G e e . T h a n k s are also
due to Weston Naef, curator emeritus, for his early support
of this book. H i s discerning eye is responsible for bringing
the wonderful collection of F r e d e r i c k H . E v a n s to the Getty
Museum i n 1984.
Marc Harnly, head of Paper Conservation; E r n i e Mack,
associate conservator; and Sarah F r e e m a n , assistant conser­
vator, carried out expert treatments on the Getty Museum pho­
tographs i n c l u d e d i n this volume. T h e y were ably assisted
by independent conservator Valerie Bass. I n addition, mount-
makers Stephen Heer, L y n n e K a n e s h i r o , and R o n Stroud
prepared the Getty prints for inclusion i n this book and the
accompanying exhibition. I am particularly grateful to them
for their insight, patience, and expertise i n working w i t h the
photographs.
I am especially grateful for the support of Michael B r a n d ,
director of the J . Paul Getty M u s e u m , for his leadership and
vision, and D a v i d Bomford, associate director for collections,
w h o recognized the importance of this project and ensured
its completion.
Gregory B r i t t o n , publisher, and his expert staff i n Getty
Publications are offered unending thanks and praise for all

their w o r k on this book; i n particular, D i n a h B e r l a n d , editor,
whose editorial skills are m u c h appreciated, along w i t h those
of K a t y a R i c e , freelance copy editor, and K a r e n Stough, free­
lance proofreader; Jeffrey C o h e n , designer, w h o is responsi­
ble for this gorgeous tome; Dominique Loder, photo researcher,
w h o diligently requested all the images from many different
sources; and A m i t a Molloy, production coordinator, w h o ,
w i t h organized and exacting expertise, was always a calm and
thoughtful presence even i n the thick of deadlines and unfore­
seen obstacles. Everyone contributed greatly to the success of
this book, and I am grateful for their patience and fortitude.
I n Imaging Services thanks are due to J a c k R o s s , Michael
S m i t h , Stacey R a i n Strickler, and T r i c i a Z i g m u n d . S p e c i a l
thanks are due to Johana Herrera, imaging technician, whose
eye for detail ensured the verisimilitude of the reproductions
to the originals.
M a n y areas of the book and exhibition overlapped, i n ­
volving many people whose contributions were critical to the
overall success of the project. M y warmest thanks are extended
to the following Getty colleagues: Sophia Allison, Tuyet B a c h ,
Cherie C h e n , Catherine Comeau, C h r i s Cook, Clyde Crossan,
J i m D r u z i k , Sally H i b b a r d , Q u i n c y Houghton, A m b e r Keller,
C l a r e K u n n y , B r u c e Metro and his team, E m i l y M o r i s h i t a ,
Grace Murakami, Merritt Price, K a r e n Schmidt, Betsy Sever­
ance, T r a c y W i t t , and Deenie Yudell.
I w o u l d also like to extend my gratitude to each of the fol­
lowing lending institutions, w h o were extremely generous i n
opening their collections to me and i n their willingness to
share their Evans prints. A t the Collection Centre Canadien
dArchitecture / Canadian Centre for Architecture, Montreal:
L o u i s e Desy, A n n - M a r i e Sigouin; at George Eastman House,
Rochester, N e w York: A l i s o n Nordstrom, Joe Struble, R a c h e l
S t u h l m a n , and A l a n a West; at the P h i l a d e l p h i a M u s e u m o f
A r t , Peter B a r b e r i e , J u l i a D o l a n , and J o h n V i c k ; at the L o s
Angeles C o u n t y M u s e u m of A r t : Charlotte C o t t o n and E v e
Schillo; and at the National Media M u s e u m , Bradford, E n ­
gland: A m a n d a C h i n n e c k , L o r n a Frost, B r i a n L i d d y , and
Philippa Wright. T h e help they afforded to both H o p e Kings-
ley and me is m u c h appreciated, and I am especially delighted
and very grateful that the National Media M u s e u m agreed to
be the host venue for the exhibition i n E n g l a n d .
ACKNOWLEDGMENT
Recognition is also due to M a r t i n B a r n e s , my curatorial
colleague at the V i c t o r i a and Albert M u s e u m , L o n d o n .
I also benefited from the counsel and guidance o f the
following i n d i v i d u a l s : D e n i s e B e t h e l , K e n J a c o b s o n , H a n s P.
Kraus J r . , Mack L e e , A l e x Novak, Barret Oliver, Pam Roberts,
A n d r e w S m i t h , L i n d s a y Stewart, B e t h Gates W a r r e n , and
C l a r k W o r s w i c k . I am deeply indebted to H o p e K i n g s l e y for
her insightful and informative essay on Evans and his involve­
ment w i t h the L i n k e d R i n g . I have both enjoyed and learned
from her graciousness, w i t , and intellectual rigor.
O n a more personal note, I w o u l d like to acknowledge
Marcia and D o u g Lowry, and T i m Lowry, who were so k i n d to
host me and my family on our trips to Rochester. T o my Phila­
delphia hosts, Mags and James Conboy, a big, w a r m thank-
you. Closer to home, special thanks to my L o s Angeles-based
friends E l i z a b e t h E s c a m i l l a , C a r l L a w t o n , Z a c h a r y L a w t o n ,
J o A n n S h a l h o u b M e j i a , C h l o e M e j i a , and S a r a h M e j i a , all
of w h o m contributed to this project w i t h their assistance at a
critical time. T o my family, Claire and R a m y B o o t h , Pat and
Maureen L y d e n , Mary and R u d y Muniz, thanks are always due,
but especially so i n this instance.
Finally, to my two biggest supporters, who perhaps bore
the biggest impact from my involvement i n this project, I offer
my humble gratitude. T h a n k y o u , Christopher. T h a n k y o u ,
Orla. — A M L
IX
 FIGURE 1

Alvin Langdon cobur(british 1822-1996),potaot of fedricl H.Evan platinium print

28.4x23.1cm(113/16x91/8in).Lable orginally affixed to print verso reads:
'With Bernard shaws complains 'justdiscovering among my old papers.
It gives gonmelike [sic] appearance to the life,and his chracterstics attitude GBS'Ayot saint lawerence welwyn i ierts .20/8/1945
Braford England RPSCollection at the National Media Museum sspl 2003-5001_2_21633

XII
 INTRODUCTION

Frederick H . Evans and

the Right Moment

Evans is, or pretends to be, utterly ignorant of architecture, of optics,

of chemistry, of everything except the right thing to photograph and the right moment
at w h i c h to photograph it.

— GEORGE BERNARD SHAW

O
ne c o u l d say that F r e d e r i c k H e n r y E v a n s {fig. 1}
was b o r n at the right moment for photography:
his arrival into the w o r l d i n 1853 coincided w i t h
the founding o f the Photographic Society (later the R o y a l
Photographic Society) i n E n g l a n d . B u t though his fate may
have been sealed at birth, it would be some years before Evans
would come to realize it.
As a young man E v a n s w o r k e d as a bookkeeper for a
sauce firm i n L o n d o n ' s East E n d , but ill health sent h i m to
A m e r i c a i n about 1872 to stay w i t h an aunt i n P h i l a d e l p h i a .
After returning to England, Evans resumed his work as a clerk
and then by 1890 began w o r k i n g i n a bookstore on C h e a p -
side i n L o n d o n . H e soon became part owner o f the shop, and
w h e n his partner died, he assumed full responsibility for
the place.
I n 1883 Evans bought a quarter-plate camera from George
S m i t h of the Sciopticon C o m p a n y and began taking photo­
graphs. H i s first images were "photo-micrographs" {fig. 2},
photographs of tiny natural specimens—such as a cross-
section o f a sea urchin—magnified under a microscope to
reveal striking forms and patterns. T h e y were a far cry from
the typical beginner's work, the amateur family portraits and
travel snapshots. F r o m the start, Evans's interest was serious
and committed. Indeed, i n using as many as six lenses for his
camera at this early point i n his career, Evans revealed his
investment—in the psychological as well as the monetary
sense of the w o r d — i n photography. 2
W i t h o u t formal train­
ing or m u c h experience, he had embarked on a photographic
career that w o u l d have lasting impact.
E v a n s made his first official venture into the m e d i u m
w i t h the showing of his photomicrographs to the Photo­
graphic Society i n 1886, and a year later he was awarded a
medal for his contributions to the Society's annual exhibition.
Beauty was at the heart of his endeavors; even though his sub­
j e c t matter could be classified as scientific, it was his interest
in the naturally repeating patterns and forms as aesthetic
principles that motivated his w o r k .
Evans d i d not confine himself to the natural w o r l d as
seen through a microscope; he also ventured outdoors into
nature, making a number of early landscapes of the English
countryside. Seeking respite from the health problems that
he seems to have struggled with all his life (most likely rheu­
matism), Evans traveled often to the Lake District i n the north
of E n g l a n d . T h e fresh air, stunning landscape, and breath­
taking views were all tonic for m i n d and body. B u t w h e n pre­
sented w i t h the dramatic sweeping vistas and cliffs o f this

ANNE M. LYDEN

A s s o c i a t e C u r a t o r , D e p a r t m e n t of P h o t o g r a p h s , T h e J . P a u l G e t t y Museum

1
 F I G U R E 2

F r e d e r i c k H . E v a n s ( E n g l i s h , 1 8 5 3 - 1 9 4 3 ) , F r : Sec: S p i n e o f E c h i n u s , x . 4 0 , c a . 1 8 8 7 .
P l a t i n u m p r i n t , 12.1 x 11.9 c m ( 4 % x 4 / i < i i n . ) . P h i l a d e l p h i a M u s e u m o f A r t 1 9 7 3 - 1 9 7 - 6 5
n

2
 INTRODUCTION

region, Evans, interestingly, did not attempt to capture the view i n a large format. Instead, he
opted for rather small, delicate landscapes printed on platinotype paper {see plates 7, 8}. I n his
photomicrographs he had viewed the smallest of specimens i n magnification; now, i n contrast,
he presented the grandest of scenes i n the most intimate size. T h e s e "ordinary landscapes," as
he called them, had less i n common with the picturesque mammoth plates o f Roger Fenton,
w h o i n the 1850s had documented the region, than w i t h the recent landscape w o r k of P. H .
E m e r s o n and T . F. Goodall, whose platinum-print portfolio Life a n d L a n d s c a p e on the Norfolk
B r o a d s was issued i n 1887. 3

B y 1888 Evans's photographic w o r k included, along with the landscapes, "cathedral inte­
r i o r s , . . .drop-shutter work, studies of hedgerows,... portraits, etc., etc." Clearly he was not
4

limiting himself to one genre; he was fluidly, and with the help of his bank of lenses, working
back and forth among all. H i s early images were often presented as glass lantern slides {see fig.
8 and plate 1}, w h i c h Evans favored for their luminosity and fidelity to the original negatives.
T y p i c a l l y measuring 3 !4 x 3 A inches, the glass slide was put i n a viewer and the image pro­
l

jected onto an opaque surface. Evans made more than a thousand glass slides, w h i c h he used
extensively i n his public lectures, considering glass the perfect medium for his w o r k . "Paper, 5

with its lack of depth, its abrupt stoppage o f image at the surface, w i l l not fully or adequately
exhibit the entire value and charm o f these infinitely related planes," he explained, "but glass
can and does w h e n properly handled." Although his landscapes and photomicrographs held a
6

prominent place i n his output, it w o u l d be his architectural subjects—and i n particular the

medieval cathedrals—for w h i c h he w o u l d become k n o w n .
O n his trips around England photographing these medieval spaces, he typically stayed for
several weeks i n each location. H e w o u l d study the scene from early morning to dusk, pacing
around naves and cloisters and recording—first as notations i n a notebook and later as photo­
graphic images on paper—the changing effects of light as it illuminated the dimly lit interiors at
various times of day. H e w o u l d later use a double-coated plate, w h i c h essentially consisted of a
fast emulsion on top of a slower one. T h e combination allowed h i m to perfectly expose his
interior scene: he could capture the effects of light i n the brighter areas without losing detail i n
the shadows. H i s cathedrals were popular subjects, part of a long tradition within the graphic
and literary arts that celebrated the historical and architectural value of these buildings, but that
tradition was of secondary interest to Evans. " I t is the beautiful rather than the antiquarian
aspect that attracts me," he noted. Stripped of any narrative, the prints were objective i n their
7

presentation and thus allowed for a more personal reading. Referring to his cathedral photo­
graphs as "poems i n stone," Evans was drawing on his literary background and his keen aware­
ness of the role imagination played i n his w o r k . 8

F r o m 1890 to 1898 Evans ran his bookshop, w h i c h brought h i m into contact with various
literary figures. O v e r the years many of them sat i n front of his camera, including D r . J o h n
Todhunter, an I r i s h poet and playwright {see plate 109}; H u b e r t B l a n d , w h o founded the
Fabian Society, an organization concerned w i t h the advancement of social democracy through
gradual reform {see plate 110}; the playwright George Bernard Shaw, who shared with Evans an
enthusiasm for the pianola {see plate i l l } ; the young A u b r e y Beardsley, whose graphic talents
9

E v a n s is credited w i t h having discovered {see plate 112}; and the S y m b o l i s t writer A r t h u r

10

Symons {see plate 113}. I n his portraits Evans attempted to evoke the sitter's personality. Using a
Dallmeyer-Bergheim lens because it afforded a greater degree of softness i n rendering facial

3
 LYDEN

FIGURE 3 FIGURE 4

Julia Margaret Cameron (English, born India, 1815-1879),
H e n r y T a y l o r , 1864. Albumen silver print, 24.8 x 19.5 cm ( 9 % x y /i6
n
in.).
Los Angeles, J . Paul Getty Museum 84.xz.186.12
Frederick H . Evans (English, 1853-1943), The D e a n of E l y , ca. 1897.
Gum bichromate print, 24.4 x 18.9 cm ( 9 % x j V w i n . ) .
Los Angeles, J . Paul Getty Museum 84.XM.444.81

features, he tended to isolate his sitters with little background detail or props, in order to con­
vey their psychological presence. Evans's inspiration was the great British portraitists of the
nineteenth century, in particular the photographic partnership of David Octavius Hill and
Robert Adamson and fellow photographer Julia Margaret Cameron {fig. 3}. I n a review of
Cameron photographs Evans wrote:

When one looks at these really astonishing portrait studies, and remembers also those of
D . O . Hill, and then recalls the technical difficulties, the doubtful operations, the long
exposures, the imperfect plates, etc., etc., these artists had to contend with, one feels a new
sort of respect, and feels quite ashamed that even the best work of to-day is not better than
it is. How few of our ripest works can show so much of the same order of excellence, of
spiritual insight, that so completely informs these works of Mrs. Cameron's? 11

The softness of focus and the delicate handling of light that he singled out in Cameron's work
are qualities found in his own. I n a further indication of his high regard for Cameron, Evans
made direct copies of her photographs and printed them in platinum.

4
 INTRODUCTION

W i l l i a m Morris, the leader of the Arts and Crafts movement, did not sit for Evans, though
he may have been a visitor to his bookstore, but E v a n s took his portrait, i n a sense, w h e n he
photographed Kelmscott Manor at Morris's invitation i n 1896. T h e T u d o r house {see plates
12

2 8 - 3 5 } had since 1871 been the summer home of Morris and, until 1874, of the Pre-Raphaelite
painter Dante Gabriel Rossetti. Kelmscott played a key role i n Morris's life; he used it i n his
novel about a Utopian socialist society, N e w s f r o m N o w h e r e , and even named his private press
after it. Evans seems to have returned to Kelmscott shortly after Morris's death i n October 1896;
it may have been during this second visit that Evans completed the "portrait" of this great artistic
figure.13
He recorded spaces that had obvious personal significance, such as Morris's bedroom
{see plate 32}. Evans also studied the location and considered the architectural space i n a series
of views, such as the attic images {see plates 3 4 , 3 5 } , that sought to capture something of the soul
of the place—the unspoiled craftsmanship and organic feel that had attracted Morris.
I n 1900, two years after he retired from the bookshop so he could concentrate on photog­
raphy, Evans was elected to the Brotherhood of the L i n k e d R i n g , a group of photographers w h o
seceded from the Photographic Society i n 1892 to establish their own artistic circle. T h e schism
within the Photographic Society that led to the formation of the L i n k e d R i n g revolved around
the premise of photography as a fine art. Believing the Society to be too scientific i n its approach
to the medium, many photographers sought to bring a more pictorial style to the photographic
process, and none more so than Evans, who had always been concerned with aesthetics. W h i l e
he considered himself a Pictorialist, Evans was also an advocate of straight photography; that is,
he did not believe i n altering the negative, and he felt that handwork on the print should be kept
to a m i n i m u m or not done at all. T h i s was somewhat contrary to the popular trend of the time,
where many photographers were exploring media such as gum and bromoil as a means to
express the painterly qualities of their work. W h e n Evans addressed the members of the Royal
Photographic Society on the occasion of his exhibition i n 1900, he indicated little interest i n
exploring these painterly processes. G i v e n that he was "unable to draw, sketch, or paint," Evans
said, he was "more likely to go wrong than right i n the enormously free printing-development
powers the gum process gives." 14

One of the journals reports, however, that by 1902 Evans "has taken up gum this year, and
displays his versatility by showing no less than ten pictures." 15
H i s gum bichromate portrait of
the dean of E l y is an example of his use of the control process, as it was called {fig. 4}. H e had
made this choice, Evans explained, "because the hair was too hard i n the negative to print prop­
erly i n platinotype, without ruining the facial modeling; second, because I wanted to try for a
portrait of the ' D e a n of Ely,' more than merely a portrait of Dr. Charles Stubbs. I wanted to
emphasise his deanship, i n addition to getting a true likeness of the m a n . " B u t Evans continued
16

to use platinum as his medium of choice and maintained that a good negative was a prerequisite
for any print. One should celebrate the photographic qualities of the medium, he believed, rather
than trying to pass off a photograph as a drawing or painting: "Photography is photography; and
in its purity and innocence is far too uniquely valuable and beautiful to be spoilt by making it
imitate something else. Its power of rendering complexity with clearness, of perfect detail, and
perfect mass also, gives a claim to its being kept as pure i n its process as possible." 17

Since 1886 Evans had written extensively on photography, w i t h numerous articles on his
own w o r k and the medium i n general. H e was a regular contributor to popular British journals
18

such as A m a t e u r P h o t o g r a p h e r and P h o t o g r a p h y , and he held the distinction of being the first

E n g l i s h photographer invited to contribute to C a m e r a W o r k , the A m e r i c a n quarterly j o u r n a l

5
 FIGURE 5

Frederick H . Evans (English, 1853-1943), P o r t r a i t o f M r s . F r e d e r i c k H . E v a n s a n d H e r S o n E v a n E v a n s , 1905.

P l a t i n u m p r i n t , image: 11.1 x 6 . 8 c m ( 4 % x 2 /ir> i n . ) ; first m o u n t : 13.5 x 8 . 6 c m (5 /ie x 3 % i n . ) ;
M 5

second mount: 32.5 x 26 cm ( I 2 / I G X \ o A in.). L o s Angeles, J . Paul Getty M u s e u m 8 4 . X M . 4 4 4 . 7 9

1 3 l

6
 INTRODUCTION

edited and published by Alfred Stieglitz from 1903 to 1917. Stieglitz, a major proponent of pho­
19

tography as a fine art and the leader of the Photo-Secession i n N e w Y o r k , wrote of Evans:

He stands alone i n architectural photography, and that he is able to instill into pictures of
this k i n d so m u c h feeling, beauty, and poetry entitles h i m to be ranked with the leading
pictorial photographers of the w o r l d . H i s w o r k once more exemplifies the necessity of
individuality and soul i n the worker, for of the thousands w h o have photographed cathe­
drals, none has imbued his pictures with such poetic qualities coupled with such masterful
treatment. 20

I n February 1906 Stieglitz displayed Evans's cathedral prints alongside w o r k by J . Craig A n n a n

and the partnership of H i l l and A d a m s o n at the Little Galleries of the Photo-Secession ( k n o w n
as "291" for its address on Fifth A v n u e ) i n N e w Y o r k . For Stieglitz this was an opportunity to
illuminate for an A m e r i c a n audience the strong pictorial tradition w i t h i n British photography.
It was not the first time Evans's w o r k had been shown i n the United States: it had also been
exhibited i n Boston i n 1897 and 1903. O f the first display, w h i c h featured 120 prints at the
Architectural C l u b , a reviewer wrote that "its like ha[d] never been seen i n A m e r i c a . " 21
The
later show was a smaller, more private affair: 44 images were displayed i n the studio of the pho­
tographer F . H o l l a n d D a y {see plate 114}. T h e cathedral photographs, wrote a reviewer of the
second show, "manifest a fine poetic vein of imagination on the part of the artist." 22

The reception of Evans's w o r k at the 291 show i n N e w Y o r k was less positive. One reviewer
commented on Evans's perfectionism as a sterile, negative quality—a response that, under­
standably, frustrated the English photographer. W h i l e he did not deny that he strove for what
was sometimes called a "logical perfection," Evans felt that the critic had completely missed the
poetry i n his work. T o Evans's surprise, he sold very little w o r k from this show. Money was very
m u c h on his m i n d : his letters to Stieglitz from this period make several mentions of his meager
income, of special concern because of his growing family. I n 1900 he had married A d a E m i l y
23

Longhurst {fig. 5; see plate 120}, with w h o m he soon had three children, Barbara, E v a n , and
Geoffrey.
Finances may have been his reason for accepting a commission i n 1905 from C o u n t r y Life
magazine, established i n 1897. H i r e d to photograph various E n g l i s h country houses, parish
churches, and F r e n c h châteaux, Evans was essentially given the freedom to photograph his
subjects as he w i s h e d and was required only to deliver his best examples for publication. E v e n
though he was now doing his w o r k on a professional basis, Evans continued to enter some of his
images i n the annual Salon of the L i n k e d R i n g . B u t his submissions did not always meet with the
favor of the j u d g i n g committee: his view of a F r e n c h château, entitled L e M o y e n A g e {plate 18},
was the only photograph of his to be included i n the 1908 Salon. I t was quite a snub to a photog­
rapher w h o had been represented i n the past with multiple entries.
W h e n C o u n t r y L i f e gave Evans a commission to photograph Westminster Abbey i n con­
nection w i t h the coronation of K i n g George V i n 1911, it was an opportunity to revisit familiar
motifs {see plates 95-102}. Evans thought highly of the photographs, despite the commercial
nature of the work, and later, i n 1922, he w o u l d present the series at the exhibition P h o t o g r a p h i c
P i c t u r e s of W e s t m i n s t e r A b b e y at the R o y a l Photographic Society.
After the Westminster photographs, however, Evans's two-decade documentation of
England's great ecclesiastical sites began to w i n d down. H i s images continued to appear i n the

7
 LYDEN

FIGURE 6

Frederick H . Evans (English, 1853-1943), Facsimile of Aubrey Beardsley Drawing, ca. 1895.
Platinum print, image: 9.2 x 23.3 cm ( 3 % x g / w in.); sheet: 9.7 x 23.5 cm (3^16 x g A in.);
3 l

mount: 21.7 x 38.6 cm (8 /ie x i5 /ie in.). L o s Angeles, J . Paul Getty Museum 84.XM.444.100
9 3

pages of C o u n t r y Life until 1920, but between 1912 and 1919 he focused on creating enlarge­
ments of graphic illustrations from and for literature {fig. 6 } , including W i l l i a m Blake's wood­
cuts for Virgil-, H a n s Holbein's D a n c e of D e a t h woodcuts; and Aubrey Beardsley's G r o t e s q u e s ,
w h i c h he privately published. H i s platinum prints faithfully captured the style and content of
the originals, but at the same time they possessed a graphic quality of their own when trimmed
and mounted onto his papers. Evans undoubtedly saw the potential of photography as a means
for recording and disseminating these artworks. After the second decade of the twentieth cen­
tury his days of roving w i t h the camera for weeks at a time were, with a few notable exceptions
{e.g., see plates 6,10,12}, few and far between.
I n 1924 Evans presented his collection of photographic works—some of his own and many
by other photographers—to the R o y a l Photographic Society ( R P S ) , and i n 1928 he was elected
an H o n o r a r y Fellow of the R P S . T w o years later, w h e n Evans was no longer taking photo­
graphs, the R P S ' s holdings of his w o r k grew significantly with a gift by A l v i n L a n g d o n C o b u r n
{see plate 115} of his prints. T w o exhibitions i n the early 1930s of E v a n s ' s w o r k , i n L o n d o n
and Manchester, provided the swan song to a highly prolific career. Despite a slower pace, age
did not bring w i t h it any lessening of his commitment to straight photography. Offering a print
of his landscape Reflets d a n s V e a u {plate 6 } to J . D u d l e y Johnston at the R P S i n 1932, he wrote:
"Put it as an addition to my little lot i n your Permanent C o l l e c t i o n as a specimen of Pictorial
Photography w h i c h is also straight, a b s o l u t e l y neither negative nor print having the least mark
on 'em or any help i n printing. I f only photographers w o u l d take enough trouble to get per­
fectly balanced n e g a t i v e s " 2 4

E v a n s died on J u n e 24, 1943, j u s t two days shy o f his ninetieth birthday. T h e R P S

mounted a memorial exhibition of his photographs i n November 1944. T h e r e were testimonials

8

from friends and colleagues, including Charles Emanuel, the most senior member of the L i n k e d
R i n g at the time of Evans's death, who remarked that despite being "small in frame, frail look­
ing," E v a n s "was full of energy, a coiled up spring, devoted to the arts i n w h i c h he was so profi­
cient." 25
B u t it is perhaps the comments of J . R . H . Weaver that best describe this accomplished
and dedicated photographer: " E v a n s was a strong individualist, artistically highly sensitive,
and one i n w h o m emotion lay very close to reason" {fig.
Notes
1 George Bernard Shaw, " E v a n s — A n Appreciation," C a m e r a
W o r k , n o . 4 ( O c t o b e r 1903), p . 16.
2 I n 1888 E v a n s w r o t e : " I have s i x single lenses, v a r y i n g i n
focus from 6 i n c h e s to 12 A i n c h e s , a n d these, i n c o m b i n a t i o n ,
l
y i e l d four doublets o r rectilinears o f s h o r t e r focus d o w n
to 3 !4 i n c h e s , so that a l l optical r e q u i r e m e n t s c a n a l w a y s be
met; thus the s i x singles a n d the four doublets m a d e from
them give the ten available foci." F r o m " L e n s e s i n Sets for
L a n d s c a p e W o r k , etc.," I n t e r n a t i o n a l A n n u a l o f Anthony's
P h o t o g r a p h i c B u l l e t i n 1 ( J u l y 1 8 8 8 ) , p . 183.
3 P. H . E m e r s o n a n d T . F . G o o d a l l , L i f e a n d L a n d s c a p e on the
N o r f o l k B r o a d s , 1887. T h e timeless, u n d e r s t a t e d quality
of E v a n s ' s scenes bears a resemblance to the s i m p l i c i t y o f
E m e r s o n ' s l a n d s c a p e s , w h i c h w e r e p r e s e n t e d as e x a m p l e s
of p r e i n d u s t r i a l E n g l a n d .
4 E v a n s , " L e n s e s i n S e t s " (note 2 ) , p . 185.
5 T h e S p e n c e r A r t M u s e u m at the U n i v e r s i t y o f K a n s a s has
a p p r o x i m a t e l y four h u n d r e d lantern slides b y E v a n s , a n d the
U n i v e r s i t y o f N o t t i n g h a m , E n g l a n d , has several h u n d r e d as
w e l l . T h e largest p u b l i c c o l l e c t i o n o f h i s lantern s l i d e s — m o r e
than seven h u n d r e d e x a m p l e s — i s at the C a n a d i a n C e n t r e for
Architecture in Montreal.
6 F r e d e r i c k H . E v a n s , " G l a s s v e r s u s Paper," C a m e r a Work,
n o . 10 ( A p r i l 1905), p . 3 8 .
7 F r e d e r i c k H . E v a n s , " O n P u r e P h o t o g r a p h y , " a d d r e s s to
R o y a l P h o t o g r a p h i c Society, A p r i l 2 5 , 1 9 0 0 , as r e p r i n t e d
in B e a u m o n t N e w h a l l , P h o t o g r a p h y : E s s a y s a n d Images.
I l l u s t r a t e d R e a d i n g s i n t h e H i s t o r y o f P h o t o g r a p h y (New York,
1980), pp. 177-84.
8 E v a n E v a n s , " A S o n ' s M e m o r i e s o f a F a m o u s Father,"
P h o t o g r a p h i c C o l l e c t o r 4 , n o . 3 ( W i n t e r 1983), p . 3 4 9 .
9 T h e p i a n o l a , a p l a y e r p i a n o , w a s a great p a s s i o n o f E v a n s ' s ,
s e c o n d o n l y to h i s love o f photography. H e c u t h i s o w n m u s i c
rolls a n d often p e r f o r m e d o n the p i a n o l a at h i s p u b l i c lectures.
10 E v a n s b o u g h t d r a w i n g s from B e a r d s l e y a n d even t r a d e d
b o o k s for his p r i n t s . I n 1892, w h e n the p u b l i s h e r J . M . D e n t
w a s l o o k i n g for an illustrator for a n e w edition of L e morte
d ' A r t h u r , E v a n s suggested B e a r d s l e y , a n d so began h i s profes­
s i o n a l career.
11 Frederick H . Evans, " E x h i b i t i o n of Photographs by Julia
Margaret C a m e r o n , " A m a t e u r P h o t o g r a p h e r 4 0 , no. 1033
( J u l y 1904), pp. 4 3 - 4 4 .
12 M a r k P o h l u d , " F r e d e r i c k H . E v a n s : T h e S t i g m a of T e c h n i c a l
P e r f e c t i o n , " H i s t o r y of P h o t o g r a p h y 16, n o . 3 ( A u t u m n 1992),
p. 251.
INTRODUCTION
7}. 26
13 Martin Barnes, "Photography in Britain and America," in
L i v i n g s t o n a n d Parry, I n t e r n a t i o n a l A r t s a n d C r a f t s ( L o n d o n ,
2 0 0 5 ) , p . 136.
14 E v a n s , A d d r e s s to R o y a l P h o t o g r a p h i c S o c i e t y (note 7 ) , FIGURE 7
pp. 177-84.
P. H . H o o d ( E n g l i s h , act. c a . 1 8 9 0 - 1 9 1 0 ) ,
15 Percy G . R . Wright, " T h e Photographic Salon," A m a t e u r
P o r t r a i t o f F r e d e r i c k H . E v a n s , c a . 1910.
P h o t o g r a p h e r 3 6 , n o . 6 8 6 ( S e p t e m b e r 1902), p p . 2 4 3 - 4 6 .
P l a t i n u m p r i n t , 6.1 x 4.7 c m
16 Q u o t e d i n D a v i d B l o u n t , " T h e H a n d l i n g of T e x t u r e s , "
(2% x lVs in.).
A m a t e u r P h o t o g r a p h e r 3 9 , n o . 1024 ( M a y 1904), p . 3 9 6 .
Los Angeles, J . Paul Getty Museum
17 F r e d e r i c k H . E v a n s , " A n A r t C r i t i c o n Photography,"
84.xp.208.18
A m a t e u r P h o t o g r a p h e r 47, no. 1238 ( J u n e 1 9 0 8 ) , p p . 6 2 5 - 2 6 .
18 A n invaluable b i b l i o g r a p h y of w o r k s w r i t t e n or p u b l i s h e d b y
E v a n s is p r o v i d e d i n A n n e H a m m o n d , F r e d e r i c k H . Evans:
S e l e c t e d T e x t s a n d B i b l i o g r a p h y ( O x f o r d , 1992), p p . 1 5 5 - 6 2 .
19 E v a n s c o n t r i b u t e d ten articles, i n c l u d i n g r e v i e w s o f the
P h o t o g r a p h i c S a l o n , to C a m e r a W o r k between 1903 a n d 1909.
20 A l f r e d Stieglitz, " O u r I l l u s t r a t i o n s , " C a m e r a W o r k , n o . 4
( O c t o b e r 1903), p . 25.
21 I n " A C h a n c e for the C o g n o s c e n t i " i n T i m e & t h e H o u r 4 ,
n o . 13 ( B o s t o n , M a r c h 6 , 1 8 9 7 ) . O r i g i n a l c l i p p i n g i n N e w h a l l
a r c h i v e . B e a u m o n t a n d N a n c y N e w h a l l p a p e r s , 1843-1993
(bulk, 1 9 2 9 - 9 3 ) , Getty Research Institute, Research Library,
a c c e s s i o n no. 9 2 0 0 6 0 .
22 " M r . E v a n s ' s P h o t o g r a p h s of A r c h i t e c t u r a l S u b j e c t s , " repro­
d u c e d from B o s t o n E v e n i n g T r a n s c r i p t , F e b r u a r y 2 1 , 1 9 0 3 , i n
A m a t e u r P h o t o g r a p h e r 3 7 , no. 971 ( M a y 1903), p . 3 8 9 .
23 I n a letter o f S e p t e m b e r 2 5 , 1 9 0 5 , he refers to h i s " m e a s l y
3 5 0 p o u n d s a year, &: m y a b s u r d l y e x p e n s i v e tastes a n d
d e m a n d s & c a l l s ! " I n a letter o f D e c e m b e r 7 , 1 9 0 7 , he says,
"[M]y p o o r 4 0 0 p o u n d s a year no longer suffices for me a n d
m y babes a n d I a m too subject to i l l health to w o r k h a r d ,
tho w o r k I m u s t for e x t r a i n c o m e , h e n c e every s h i l l i n g is o f
i m p o r t a n c e . " O r i g i n a l letters i n c o l l e c t i o n o f B e i n e c k e
L i b r a r y , Y a l e U n i v e r s i t y . C o p i e s of letters i n N e w h a l l a r c h i v e .
B e a u m o n t a n d N a n c y N e w h a l l p a p e r s (note 21).
24 F r e d e r i c k H . E v a n s , letter to J . D u d l e y J o h n s t o n , 1932, R o y a l
Photographic Collection, National Media Museum, Bradford.
25 J . D u d l e y J o h n s t o n , " M e m o r i a l E x h i b i t i o n o f P h o t o g r a p h s
b y F r e d k . H . E v a n s , H o n . F . R . P . S . , " P h o t o g r a p h i c J o u r n a l 84
( N o v e m b e r 1944).
26 J . R . H . Weaver, " T h e M a n a n d H i s W o r k , " i n " I n P r a i s e o f
Frederick H . Evans: A Symposium," P h o t o g r a p h i c J o u r n a l
85A ( F e b r u a r y 1945), p . 3 7 .
9
 S p i n e o f E c h i n u s T. S. x 2 i , 1 8 8 6 .
Glass lantern slide, image: 7.1 x 7.1 c m
( 2 / i e x 2 / i e in.);
13 13

plate: 8.3 x 8.3 c m (3!4 x 3 % in.).

Los Angeles, J . Paul Getty M u s e u m
84.XH.1616.14

FIGURE 9

Frederick H . E v a n s ( E n g l i s h , 1 8 5 3 - 1 9 4 3 ) ,
P e n d u l u m C u r v e , 1899-1910.
Pen and ink on paper,
image: 11.1 x 6.8 c m ( 4 % x 2 / I G in.); u

page: 16.4 x 12 c m ( 6 / i e x 4 % in.).

7

L o s Angeles, J . Paul Getty M u s e u m

84.XO.759.1.20

F I G U R E 10

Frederick H . E v a n s ( E n g l i s h , 1 8 5 3 - 1 9 4 3 ) ,
N o r t h A i s l e , t o E a s t , from C a n t e r b u r y
C a t h e d r a l A l b u m , 1 8 9 0 , plate 8.
Platinum print, 15.2 x 11.4 c m
(6 x 4 / 2 in.). Santa Fe, N e w M e x i c o ,
1 /

A n d r e w Smith Gallery

10
 A Record of Emotion:
T h e Architectural Photographs of
Frederick H . Evans

T h e r e are no more abiding memories of peace, deep joy, and satisfaction,

of a calm realization of an order of beauty...
than those given by a prolonged stay i n a cathedral vicinity.

- F R E D E R I C K H . EVANS

M
ore than simply recording their architectural fea­ A follower of the S w e d i s h theologist E m a n u e l Swedenborg
tures, Frederick H . Evans sought an emotional con­ ( 1 6 8 8 - 1 7 7 2 ) , E v a n s believed that all physical things owed
5

nection w i t h the cathedrals he photographed. " T r y
for a record of an emotion rather than a piece of topography,"
he urged students i n 1904. "Wait until the building makes you
feel intensely . . . then try to analyse what gives y o u that feel­
ing . . . and then see what y o u r camera can do towards repro­
ducing that effect." 2
It is Evans's passion for his subject that distinguishes h i m
from the multitude who photographed medieval cathedrals.
D e v o i d of obvious narrative and avoiding the pedantic, Evans's
photographs are imbued with a delicacy of light and shadow
that evokes the hallowed spaces i n a timeless way. H e succeeds
their existence to a divine power and therefore saw a spiritual
connection between the monumental stone structures of the
cathedrals and the minute specimens seen in the photomicro­
graphs. T h e similar patterns found i n both only strengthened
the relationship between the two disparate subjects. Merging
the scientific and aesthetic, his use of J o s e p h G o o l d ' s twin-
elliptic harmonograph to create pendulum drawings provided
further evidence of E v a n s ' s interest i n mathematics-based
patterns: the seemingly infinite spirals of the drawings recall
the cross-section of a snail-like organism or the succession of
cloisters or ribbed vaulting i n a cathedral {figs. 8 - 1 0 } . 6

in providing an "experience" of the building that goes beyond
the recording of the physical structure and even the artistic
properties of the actual print to become an emotional response
in and of itself. 3
F r o m the very beginning E v a n s was interested i n the
notion of beauty. " I was first led to the study of microscopy,
and also of photography, by my life-long love and study of
'the beautiful,'" he wrote in 1886. H i s attention to beauty also
4
related to a more spiritual awareness of the p h y s i c a l w o r l d .
Evans described his cathedral photographs as studies, and
indeed they were: he approached each building i n a methodi­
cal, measured way. First he took copious notes—notes on the
best views, how the light fell at certain times of day, the length
of exposure needed, w h i c h lens to use, and so on. T h e n he
proceeded to create the images, with the finished photographs
serving as a compendium of the site. Evans advocated estab­
lishing a government department responsible for maintaining
a national archive of cathedral images. I n 1900 he argued:

ANNE M. LYDEN

11
 LYDEN

I f we valued our great architecture as we ought, we should not only have photographic
records to scale, of all the important details, etc., but we should also have every aspect of our
great buildings, i n general and i n particular, from the point of view of beauty; so that the
present appearance, i n the best conditions of lighting, might be on record for both our
current delight and the inestimable j o y of our descendants, w h e n these architectural trea­
sures are gone forever. 7

E v a n s ' s systematic coverage invariably included a contextual view. Whenever possible, he

took a photograph that showed the building w i t h i n its urban surroundings {see plates 3 8 , 72,
103}, w h i c h often involved finding a suitable vantage point far enough away or at a higher eleva­
tion; at the very least he provided an exterior shot that gave a sense of the grand scale of the
FIGURE11
structure {see plates 2 0 , 4 6 , 6 1 , 6 9 , 7 0 , 7 3 , 1 0 4 } . After setting the context he led the viewer across
Frederick H . Evans (English, 1853-1943),
C a n t e r b u r y C a t h e d r a l A l b u m , 1890.
the threshold into the sacred space, exploring pictorial devices such as open doors and lengthy
27 x 2 4 . 1 x 7.6 cm ( 1 0 % x g A x 3 in.).
l
vistas to draw the viewer inward.
Santa Fe, New Mexico,
Andrew Smith Gallery
E v a n s ' s careful approach to photographing cathedrals is especially obvious i n a few
instances i n w h i c h his images were gathered and mounted together i n one album {fig. 11}. I n 8

1889 he photographed Canterbury Cathedral, established by Saint Augustine w h e n he was sent

to E n g l a n d from R o m e by Pope Gregory the Great i n the year 597. G i v e n the cathedral's impor­
tance w i t h i n the Christian community—it is home to the archbishop of Canterbury, head of the

FIGURE 12 F I G U R E 13

Joseph Mallord William Turner (English, 1775-1851), Frederick H . Evans (English, 1853-1943),
I n t e r i o r of Galilee Porch, Ely C a t h e d r a l , 1794. Ely, Galilee Porch i n t o N a v e , 1905.
Pencil and watercolor on paper support, Platinum print, 24.1 x 17.5 cm ( 9 % x 6 % in.).
27 x 19.6 cm ( 1 0 % x 7 / i 6 in.). From the album
n
Los Angeles County Museum of Art M . 2 0 0 8 . 4 0 . 7 2 2
F i n b e r g X X I I E . London, Tate Gallery D 0 0 0 3 5 8

12
 a recors of amotion

FF II G
GUU RR EE 14
14

Roger Fenton ( E n g l i s h , 1819-1869), Central Doorway, West Porch,

Lichfield Cathedral, 1858. A l b u m e n silver p r i n t , 41.6 x 36.2 c m (iGVs x 14 VA i n . ) .
L o s Angeles, J . Paul G e t t y M u s e u m 84.xp.219.36

Anglican C o m m u n i o n i n England—it is not surprising that Evans chose this Gothic b u i l d i n g to

be among the first of his cathedral exercises. T h e literary connection may also have been appeal­
ing to h i m ; as a bookstore owner, he was very familiar w i t h Chaucer's Canterbury Tales. 9

Even at this early date i n his photographic career, Evans displayed a truly remarkable com­
mand o f both the m e d i u m and his subject. H i s documentation o f buildings such as Canterbury
and Gloucester Cathedrals was unusual i n itself—no one else came close to Evans's methodical
approach—but what really makes these images stand out from the plethora o f cathedral views
(before and after Evans) lies i n his ability to capture the physical structures while i m b u i n g the
scene w i t h poetry and romance, displaying an imagination that goes beyond merely recording
these stone structures.
A l t h o u g h there was a strong tradition of architectural photography that might have served
as inspiration for his w o r k , Evans claimed i t was the delicate watercolors of Joseph M a l l o r d
W i l l i a m Turner {fig. 12} that were the catalyst for his o w n cathedral pictures {fig. 13}. A d m i r i n g
"the superb sense o f height, bigness, light, atmosphere, grandeur that this incomparable artist
had managed to suggest w i t h i n the few inches that comprise these small p i c t u r e s , " 10
Evans
wondered i f he could achieve the same success i n photography w i t h his o w n cathedral studies.
Somewhat surprisingly, Evans does not mention any photographer as having influenced
his w o r k on architectural subjects. H e must have been familiar, however, w i t h the w o r k of Roger
Fenton, whose cathedral pictures were extremely popular i n the mid-nineteenth century. There

13
 LYDEN

is certainly a similarity i n the w o r k o f the two English photographers. For example, Fenton's
view o f Lichfield Cathedral {fig. 14}, like some o f Evans's cathedral views, exploits the notion o f
the doorway, where the open gate i n the foreground, coupled w i t h the open door i n the center
o f the composition, leads the viewer into the scene. B u t the similarity ends there. Fenton has
included two people poised at the threshold i n his composition, implying a narrative and pro­
v i d i n g a sense o f scale. 11
T h e figures' contemporary dress places the picture at a very specific
moment i n time and forces an awareness o f past and present on the viewer. Evans, i n contrast,
rarely included figures i n his architectural compositions. H e strove for a timeless quality, one
that leaves r o o m for an emotional response rather than being didactic.
T h e L i n k e d R i n g photographer and critic Alfred Horsley H i n t o n saw Evans as expressing
"emotional enjoyment" w h e n documenting cathedrals. Evans's subject was not "architecture
for architecture's sake," wrote Horsley H i n t o n , " b u t all that it symbolizes, and the aesthetic j o y
i n contrasts, curves, and columns, the spectacular value of w h i c h provides a 'holy l u x u r y o f the
eye.'" 12
Interestingly, the critic took those final words from J o h n Ruskin's seminal w o r k The
Stones of Venice, i n particular a passage connecting Nature and the Gothic cathedral. A visual 13

analogue o f Ruskin's idea appears i n Evans's landscapes o f Redlands Woods {see plate 4 } ,
w h i c h present the trees as soaring columns w i t h i n Nature's nave.
For all the popularity o f his subject matter, Evans's w o r k was not commercial. H e d i d not
produce i n quantity (even the most iconic views do not exist i n more than half a dozen platinum
prints), and he demanded perfection for p r i n t quality and presentation. Compared w i t h George
Washington W i l s o n or Francis F r i t h , b o t h of w h o m ran extremely successful, profitable enter­
prises that sold popular views to the p u b l i c , Evans was operating w i t h i n the realm o f fine art.
Evans treated his subjects—often the same as those i n Wilson's and Frith's work—less pedan­
tically and more artistically. H i s views were carefully composed, u t i l i z i n g the effects o f light
and shadow as modeling tools i n creating the architectural image. Rather than simply identify­
ing the building as a place o f worship, Evans imbued the photograph w i t h a sense o f awe and
wonder that reinforced the spiritual qualities o f the space. H i s view o f the interior o f York
Minster {see plate 89} is dramatically different from Wilson's {fig. 15}. W h i l e W i l s o n presents
a straightforward representation o f the five grisaille w i n d o w s , Evans reveals only two o f them,
choosing instead to focus on the play o f light o n and above the tomb figure.
T h e w o r k o f Pieter Jansz. Saenredam, the seventeenth-century D u t c h painter o f church
interiors, provides an interesting parallel {fig. 16}. Saenredam and Evans share the same sense
14

o f volume, space, and recession, but whereas the D u t c h painter could combine several view­
points to arrive at his finished perspectival piece, Evans was able to present only what he saw
before h i m i n the g r o u n d glass. Furthermore, the painter was able to embellish his w o r k w i t h
details that simply d i d not exist (or details that no longer existed by the time o f the painting i n
1628), such as an altarpiece and a stained-glass w i n d o w that had been removed i n about 1600
for being too ostentatious i n post-Calvinist H o l l a n d . Evans could not deviate from the scene
before h i m , and his refusal to manipulate his negatives meant that patience and persistence were
needed to record the image he wanted. " A perfect photograph," he wrote, "is one that perfectly
records, reflects its subject; gives its beholder the same order o f j o y that the original w o u l d ;
conveys the m o o d and atmosphere so as to accurately recall the original feeling or create it i n
one w h o can only see the p r i n t . " 15

I n the series of photographs Evans made o f Kelmscott M a n o r i n 1896, he approached his

subject w i t h a technique similar to that used for his cathedral pictures. Starting w i t h distant

14
 A RECORD OF MOTION

FIGURE 15 FIGURE 16

P i e t e r j a n s z . Saenredam ( D u t c h , 1 5 9 7 - 1 6 6 5 ) , T h e I n t e r i o r o f St. B a v o , H a r l e m , 1628.

Georg e Washington W i l s o n (Scottish, 1 8 2 3 - 1 8 9 3 ) ,
Y o r k M i n s t e r : T h e F i v e S i s t e r s , 1864-65. Oil on panel, 51.9 x 61 c m ( 2 0 / i c x 2 4 in.). L o s Angeles, J . Paul Getty M u s e u m 8 5 . P B . 2 2 5
7

A l b u m e n silver print, image: 8.7 x 5.7 c m (3V1G x 2V4 in.);

mount: 10.2 x 6.2 c m ( 4 x 2 V i e in.).
Los Angeles, J . Paul Getty M u s e u m 8 4 . X D . 1 1 5 7 . 7 2 5

views o f the house from the R i v e r T h a m e s , E v a n s leads the viewer toward the site, into the
house itself, through the various chambers, and up to the attic at the top. H i s photographs of the
sparse loft {plates 34, 35} are arguably some of the most spiritual of his career. Replete w i t h
symbolism—from the rough-hewn beams that call to m i n d the Christian cross, to the light that
emanates from the doorway and beckons the viewer to ascend and cross the threshold from one
room (or state of being) to another, unseen but represented by a beautiful w a r m light—the pho­
tographs are mystical. Evans's subtitles for the attic p r i n t s — N o . 1 and [No.] 2—suggest that one
precedes the other; the wider view takes us to the more detailed one and leads us on a spiritual
and physical j o u r n e y through the space. 16

Evans's emotional connection to his architectural subjects is evident partly i n his returning
to the same site time and again i n the hope of really capturing it i n his photographs. H i s image
of Wells Cathedral "A S e a of S t e p s " {plate 67}, made i n 1903, is a case i n point. I t took Evans
several attempts over several years before he succeeded i n securing the sense of energy and pas­
sion he felt for the subject. I n an earlier view of the same subject, made by Evans i n 1900 {plate
66}, the staircase is shown from a different perspective, and though the turning o f the steps
leads one around and upward, there is not the sense of undulating rhythm that is found i n the
later print. Evans described it best himself:

15
 LYDEN

T h e steps now [ i n the 1903 photograph] rise steeply before one, and the extraordinary
wear i n the top portions, leading to the corridor, is now shown j u s t as it appeals to the eye
i n the original subject, a veritable sea o f steps, the passing over them o f hundreds o f foot­
steps . . . have w o r n them into a semblance of broken waves, low-beating on a placid shore.
— T h e beautiful curve o f the steps on the right as they rise to the height o f the Chapter
House floor, is for all the w o r l d like the surge o f a great wave that w i l l presently break and
subside into smaller ones like those at the top o f the picture. I t is one o f the most imagina­
tive lines i t has been my good fortune to try and depict, this superb m o u n t i n g o f the steps
on the r i g h t . 17

Wells Cathedral, named after a natural spring i n the area, was begun i n 1180, although
there had been a c h u r c h o n the site since 705. T h e cathedral was a p o p u l a r subject for many
photographers, among them Roger Fenton i n the late 1850s, w h o were fascinated by its Gothic
architecture, i n c l u d i n g the stairs leading to the Chapter House. T h e p h o t o g r a p h by Joseph
Cundall and Downes & Co. {fig. 17}, w h i c h was featured i n an 1862 publication on the building,
shows the same staircase that Evans's prints do, but one could be forgiven for thinking other­
wise, given the markedly different treatment. I n the earlier albumen silver p r i n t , the ascending
steps cut diagonally across the composition, taking the viewer u p w a r d from the lower left to the
top right. T h e steps i n Cundall's photograph are almost obliterated as a blown-out area of broad
highlight, whereas i n Evans's 1903 c o m p o s i t i o n the same steps are represented as a wavelike
m o t i o n about to crest over us like a baptism. T h e delicacies o f tone that shape and model each
w o r n step i n the Evans p r i n t are completely absent i n the 1862 version.
I n 1911 Evans was commissioned by Country Life to photograph West­
minster A b b e y i n connection w i t h the coronation of K i n g George V {see plates
95-102}. Because o f the preparation involved i n readying the cathedral, Evans
was able to photograph the interior over an extended p e r i o d o f t i m e . 18
With
the pews and furniture removed, the great expanse o f the cathedral opened for
h i m . Evans was at liberty to explore and find the best place for his camera so
as to create strong recessional depth. As was typical i n all his cathedral work,
he found places where he could frame structures w i t h i n structures and show a
procession of archways or a series of open doors; then he waited patiently until
the moment when crepuscular light flooded the otherwise dimly lit interior. T h e
double-coated emulsion he used gave h i m more freedom i n his exposures
w h i l e simultaneously allowing a great range i n l i g h t i n g . " I t is the atmo­
spheric charm, the superb contrasts i n lighting that I have made my chief aim,"
he e x p l a i n e d . 19
Especially p r o u d o f this w o r k , Evans wrote to Stieglitz that
the Westminster series was "the very best effects of real light and atmosphere I
have ever got or seen, and all straight prints, pure photography." Evans's last 20

major cathedral campaign was D u r h a m Cathedral i n 1911-12.

Evans continued to publish his photographs i n Country Life until 1920,
FIGURE 17
still displaying an "emotional enjoyment" of his architectural subjects, although
J o s e p h C u n d a l l a n d D o w n e s 8c C o . , Stairs Leading to Chapter
w h e n he had submitted his w o r k to the 1908 exhibition o f the L i n k e d Ring,
House, 1862. F r o m Architectural Details of some o f it had been overlooked. T h e rejection may have sprung from concerns
Weih Cathedral and Close, 1862. A l b u m e n silver p r i n t ,
24.5 χ 20.1 c m (9 /s 5
χ 7 /i6 in.).
15
about his w o r k for Country Life; as one critic noted, "the selecting committee
L o n d o n , V i c t o r i a 8c A l b e r t M u s e u m have a suspicion that his m o d e r n w o r k is purely topographical" —a view that
21

16
 A RECORD OF EMOTION

was no doubt an insult to a photographer w h o had sought, as he p u t i t , "a record o f an emo­

tion . . . rather than a piece o f topography."
I n 1943, although he had not picked up a camera for many years, Evans told a friend and
colleague: " I t is about time for me to die. Platinum paper I can no longer get, nor any paper for
cutting m y Pianola r o l l s — I am o n my last piece. A l l that is left to me is to become an armchair
Idol." 2 2
Sadly, his words were to prove prophetic. N o longer able to produce a record o f emo­
t i o n t h r o u g h his two favorite passions, Evans d i e d j u s t a m o n t h later.

Notes

1 F r e d e r i c k H . Evans, " C a m e r a - W o r k i n C a t h e d r a l G o r d o n B a l d w i n , M a l c o l m D a n i e l , Sarah G r e e n o u g h , et a l . ,

A r c h i t e c t u r e , " Camera Work, n o . 4 ( O c t o b e r 1903), p . 21. eds. ( N e w H a v e n a n d L o n d o n , 2 0 0 4 ) , p p . 5 4 - 7 3 .
2 F r e d e r i c k H . Evans, " S o m e N o t e s o n I n t e r i o r W o r k : Part 12 A . H o r s l e y H i n t o n , " F r e d e r i c k H . Evans: A R o m a n t i c i s t i n
V I — C h o i c e o f Subject," Amateur Photographer 3 9 , n o . 1023 Photography," Magazine of Art, p a r t 20 (June 1904),
( M a y 1904), p . 372. p p . 3 7 2 - 7 7 , as r e p r o d u c e d i n H a m m o n d , Frederick H. Evans
3 M a r k P o h l u d , " F r e d e r i c k H . Evans: T h e Stigma o f T e c h n i c a l (note 5 ) , p p . 8 3 - 8 4 .
Perfection," History of Photography 16, n o . 3 ( A u t u m n 1992), 13 " N o t to l u x u r y o f the eye, that is a h o l y l u x u r y ; N a t u r e
p . 249. ministers to that i n her p a i n t e d m e a d o w s , a n d s c u l p t u r e d
4 F r e d e r i c k H . Evans, " P h o t o - M i c r o g r a p h y , " Photographic forests, a n d g i l d e d heavens; the G o t h i c b u i l d e r m i n i s t e r e d to
Journal 11, n o . 3 ( n e w ser.) ( D e c e m b e r 1886), p . 25. that i n his t w i s t e d traceries, a n d d e e p - w r o u g h t foliage,
5 S w e d e n b o r g ' s w o r k s were translated i n t o E n g l i s h by J. J . G a r t h a n d b u r n i n g casements." J o h n R u s k i n , The Stones of Venice
W i l k i n s o n . I n a piece a b o u t W i l k i n s o n a n d S w e d e n b o r g , ( N e w Y o r k , 1887), p . 6 1 .
Evans w r o t e , " G o d alone creates, really makes; for H e n o t 14 I n " N o t e s o n Aesthetic R e l a t i o n s h i p s between the 17th
o n l y creates the f o r m a n d appearance, b u t p r o v i d e s the stuff, C e n t u r y D u t c h Painter a n d the 19th C e n t u r y Photographer,"
the material also." F r e d e r i c k H . Evans, "James J o h n G a r t h C a r l Chiarenza p o i n t s o u t that the t w o " w e r e s u r p r i s i n g l y
W i l k i n s o n : A n I n t r o d u c t i o n , " Homoeopathic World 47, n o . 555 alike a n d seem to have been i n f o r m e d b y the same s p i r i t ,
( M a r c h 1912), p p . 116-28. R e p r o d u c e d i n A n n e H a m m o n d , one that f o u n d its greatest expression w i t h i n a r c h i t e c t u r a l
Frederick H. Evans: Selected Texts and Bibliography (Oxford, structures w h e r e space was given h i g h e r m e a n i n g b y i s o l a t i n g
1992), p . 139· specific fragments i n t i m e , u s i n g l i g h t as a t m o s p h e r e . " I n
6 A n n e Kelsey H a m m o n d , " F r e d e r i c k Evans: T h e S p i r i t u a l One Hundred Years of Photographic History: Essays in Honor
H a r m o n i e s o f A r c h i t e c t u r e , " i n British Photography in the of Beaumont Newhall, Van D e r e n C o k e , ed. ( A l b u q u e r q u e ,
Nineteenth Century: The Fine Art Tradition, M i k e Weaver, ed. N e w M e x i c o , 1975), p . 29.
( C a m b r i d g e , 1989), p p . 2 4 3 - 5 9 . 15 F r e d e r i c k H . Evans, " A r t i n M o n o c h r o m e , " Amateur
7 F r e d e r i c k H . Evans, " O n Pure P h o t o g r a p h y , " address to the Photographer 47, n o . 1219 (February 1908), p p . 129-30.
R o y a l P h o t o g r a p h i c Society, L o n d o n , A p r i l 2 5 , 1 9 0 0 , r e p r i n t e d 16 T h e attic was significant to M o r r i s , w h o d e s c r i b e d i t i n
i n B a u m o n t N e w h a l l , Photography: Essays and Images: News from Nowhere (1890) as " t h e q u a i n t garrets amongst
Illustrated Readings in the History of Photography (New York, the great t i m b e r s o f the r o o f " at K e l m s c o t t M a n o r .
1980), p . 17. 17 F r e d e r i c k H . Evans, " W e l l s C a t h e d r a l , " Photography 16,
8 A complete, b o u n d volume o f Canterbury Cathedral photo­ n o . 766 ( J u l y 1903), p . 65.
g r a p h s , d a t i n g f r o m 1890, is o w n e d b y the A n d r e w S m i t h 18 T h e c o r o n a t i o n t o o k place o n J u n e 22,1911. Evans p h o t o ­
G a l l e r y i n Santa Fe, N e w M e x i c o . T h e gallery also has an g r a p h e d W e s t m i n s t e r A b b e y for a p e r i o d o f three weeks i n
i n c o m p l e t e a l b u m o f Gloucester C a t h e d r a l p h o t o g r a p h s , d a t i n g M a r c h a n d three weeks i n A u g u s t .
f r o m a b o u t the same t i m e , several plates f r o m w h i c h are n o w i n 19 F r e d e r i c k H . Evans, h a n d w r i t t e n lecture notes, a c o p y o f
a private c o l l e c t i o n i n the U n i t e d States. T h e C a n a d i a n C e n t r e w h i c h is i n the B e a u m o n t a n d N a n c y N e w h a l l papers,
for A r c h i t e c t u r e h o l d s a v o l u m e o f ninety-seven loose plates 1843-1993 ( b u l k , 1929-93), G e t t y Research I n s t i t u t e , Research
o n Y o r k M i n s t e r , d a t i n g f r o m a b o u t 1900 a n d focusing solely Library, Accession no. 9 2 0 0 6 0 .
o n the C h a p t e r H o u s e . T h e a l b u m begins w i t h images l o o k i n g 20 F r e d e r i c k H . Evans, letter to A l f r e d Stieglitz, A p r i l 16,1911.
t h r o u g h the d o o r w a y o f the C h a p t e r H o u s e a n d t h e n follows O r i g i n a l at Beinecke L i b r a r y , Yale U n i v e r s i t y , N e w H a v e n ,
w i t h visual d o c u m e n t a t i o n o f carved details, decorative capitals, Conn.; copy in Newhall Archive, Beaumont and Nancy
heads, a n d r o n d e l s . M a n y o f these images exist as i n d i v i d u a l N e w h a l l papers, 1843-1993 ( b u l k , 1 9 2 9 - 9 3 ) , G e t t y Research
p r i n t s separate f r o m the o r i g i n a l a l b u m {see plates 8 4 - 8 7 } . I n s t i t u t e , L o s Angeles, Research L i b r a r y acc. n o . 9 2 0 0 6 0 .
9 T h e r e is a l a n t e r n slide b y Evans o f an o p e n v o l u m e o f 21 Photograms of the Year, 1908, p . 6 4 . R e p r o d u c e d i n B e a u m o n t
C h a u c e r ' s Canterbury Tales, p u b l i s h e d b y W i l l i a m M o r r i s ' s N e w h a l l , " F r e d e r i c k H . Evans: P h o t o g r a p h e r o f the Majesty,
K e l m s c o t t Press i n 1896, i n the c o l l e c t i o n o f the J . Paul G e t t y L i g h t a n d Space o f the M e d i e v a l Cathedrals o f E n g l a n d a n d
Museum. France," Aperture 18, n o . 1 (1973), p . 26.
10 Evans, " C a m e r a - W o r k i n C a t h e d r a l A r c h i t e c t u r e " ( n o t e 1), 22 H e r b e r t F e l t o n , " L a t e r D a y s , " Photographic Journal 84 (1944),
p . 17. Ρ-37-
11 See G o r d o n B a l d w i n , " I n P u r s u i t o f A r c h i t e c t u r e , " i n All the
Mighty World: The Photographs of Roger Fenton, 1852-1860,

17
 FIGURE l8

Frederick H . E v a n s ( E n g l i s h , 1 8 5 3 - 1 9 4 3 ) , P o r t r a i t o f G e o r g e A d o l p h u s S t o r e y , A . R . A . , n . d .
Platinum print, 25 x 19.3 c m ( 9 % x 7 % in.). Bradford, E n g l a n d ,
RPS Collection at the National Media M u s e u m / s s P L 2 0 0 3 - 5 0 0 i _ 2 _ 2 2 2 7 6

18
 The "Idler":
Evans in the Linked Ring Years
I
n 1900 F r e d e r i c k Evans was elected to the L i n k e d R i n g
B r o t h e r h o o d o f photographers and given the pseudo­
nym " I d l e r . " T h e sobriquet was i n keeping w i t h the
Brotherhood's rather droll version of a secret society; L i n k s
took names suggested by their artistic personalities or their
roles within the R i n g . Evans's choice was deliberately incon­
gruous; methodical and meticulous, he was the very antithesis
of an idler. T h e name may have derived from D r . Johnson's
eighteenth-century essays but was more likely inspired by a
contemporary periodical, the I d l e r ' , w h i c h intersected w i t h
Evans's eclectic artistic and literary circle. Gatherings called
" I d l e r A t H o m e s " were attended by A u b r e y Beardsley {see
plate 112}, the writer Dr. J o h n Todhunter {see plate 109}, and
G . A . Storey of the Royal Academy {fig. 18}. 1
Evans's accession to the L i n k e d R i n g was a belated em­
brace: he h a d exhibited at the R i n g ' s Photographic Salons
from at least 1894 on and had shown works at the Brotherhood's
progenitor, the Camera C l u b of L o n d o n . Most of the B r i t i s h
photographers represented at the 1892 C a m e r a C l u b I n v i t a t i o n
E x h i b i t i o n became L i n k s , and others, such as Evans, w o u l d
participate i n the Salons by invitation. T h e 1893 Photographic
Salon was supposedly independent of the L i n k e d R i n g , yet
behind the scenes the R i n g was already i n place, running the
HOPE
Curator, Wilson Centre for Photography,
exhibitions and vetting exhibitors through invitations from the
Selection Committee.
The Photographic Salon was a key venue for international
Pictorialist photography, and L i n k e d R i n g members founded
other alliances, such as the Photo-Club de Paris and the Photo-
Secession o f N e w Y o r k . I n many cases these groups h a d
seceded from more conventional institutions, j u s t as the L i n k e d
R i n g had been formed i n opposition to the Photographic So­
ciety, Britain's oldest and most respected photographic asso­
ciation. T h e R i n g was summed up i n a satirical piece: " A l l
2
[ L i n k s ] entertained the idea that they were real artists... [and
saw] the rest of the photographic w o r l d as bitterly hostile to
themselves, photography as a graphic art little, if at all, inferior
to painting or sculpture, and the Royal Photographic Society
as an effete and dying institution craving for their support as a
drowning man clings to a straw." 3
Evans presented m u c h of his most progressive w o r k at the
Salons, yet i n terms of the aesthetic debates of the time he was
often seen as a traditionalist. H i s allegiance was to the direct,
unmanipulated photograph, produced from a carefully exposed
and developed negative and printed, without overt retouching,
on platinum paper, a photographic printing paper whose long
tonal range faithfully replicated natural luminance through a
KINGSLEY
London
19
 KINGSLEY

FIGURE 19

ALFERS MASKELL(ENGLISG 1857) lANDASCEPE CA.1898,GUMBICHMATE PRINT 9.3X11. 11.9CM(31/2X4 1/2 IN)
Bradford, E n g l a n d , R P S Collection at the National Media M u s e u m / s s P L 2 0 0 3 - 5 0 0 i _ 2 _ 2 0 i o i

SUBTITLE GRATCTION OF TONE IN THE EARLU IGOOS EVANS JOINED DEBATED ABOUT THE PURE PH
subtle gradation of tones. I n the early 1900s Evans j o i n e d a debate about "pure" photography
4

set against
versus whatexperimental works"Impressionist"
was loosely called such as gum bichromate prints,Hwhose
photography. rough,photographs
i s "straight" hand-coated were sur­
5

faces and blurred outlines d i d not look conventionally photographic. I n the " I m p r e s s i o n i s t " 6

camp was Alfred Maskell {fig. 19}, one of the founders of the R i n g : " I have before now attracted
a certain amount of derision because I have asserted that a photographic picture is a better and
more artistic production the less it bears resemblance to a photograph." 7

P r i n t s a n d Presentation

ATTENTIVE TO THE RELATIONSHIP BETWEEN PHOTOGRAPHY MATERIALS CHARACTERSTICS AND ITS E

Attentive to the relationship between photography's material characteristics and its expressive
evident
qualities,respect
Evans for the spirit,
discussed thei f painterly
not the result,
gum of his approach.
prints of fellow LEvans's own Demachy
i n k Robert fidelity was
w ito
t h the
an
8

full representational power of photography, and this led h i m to champion glass transparencies
and their broad range of luminosity. B u t his exhibition prints were made as platinotypes, w h i c h
had other, sympathetic aesthetic characteristics. T h e uncoated surface of platinum prints
9

retained the velvety "tooth" of a paper texture also found i n the fine books and engravings that

20
 THE " I D L E R "

Evans appreciated as a bookseller and a collector. T h e neutral image color of platinotypes was
important as well, for restraint i n the treatment o f color was a concern at a time w h e n bright,
aniline dyes were glaringly visible i n the commercial graphic arts. Evans himself was partial to
English black-and-white illustration w o r k . 10

T h e conventions o f book design influenced the structure o f Evans's images. H e typically

photographed i n a vertical format, echoing the most c o m m o n book layout. M o r e particular was
Evans's deployment o f open space w i t h i n the lowest p o r t i o n o f the photographic image area.
T h i s was akin to the two-to-three ratio o f book margins, whose measurement is greatest at the
b o t t o m o f the page. I n Evans's cathedral views, this p r o p o r t i o n achieves visual balance and an
11

experiential sense o f embodied space, grounding the viewer w i t h i n the scene.

Evans also included a deeper lower margin on his p r i n t mounts {see plate 88}, explaining
that i t was a more comfortable placement for the photograph, as a centrally mounted picture
w o u l d appear to be slipping toward the b o t t o m o f the page. H e reserved space i n that margin
12

for a title and signature or m o n o g r a m . 13

T h e monogram was an increasingly popular m o t i f (or
affectation) among art photographers, inspired by James M c N e i l l Whistler's butterfly, as an
applied design i n i n k or crayon. Evans took a line o f greater elegance, using a metal die to em­
boss his monogram as a b l i n d stamp. 14
H i s monogram initials were designed as oblique strokes
reminiscent o f Japanese calligraphy and set w i t h i n an ovoid form that suggested the shape o f a
Japanese sword guard (a tsuba), an artifact Evans collected {fig. 20}. H i s taste for japonisme was
shared by Eva Watson-Schütze, a fellow member of the L i n k e d Ring, w h o i n 1903 cited Japanese
spatial composition for ideas on the design and placement o f monograms. 15
Watson-Schütze's

F I G U R E 20

F r e d e r i c k H . Evans ( E n g l i s h , 1 8 5 3 - 1 9 4 3 ) , Japanese Tsuba, Sword Guard, 1890-99.

Glass l a n t e r n slide, image: 6.8 x 6.9 c m ( 2 / i 6 χ 2 / i 6 i n . ) ;
u n

plate: 8.3 χ 8.3 c m (^A i n . ) . L o s Angeles, J . Paul G e t t y M u s e u m 84.XH.1616.13

21
 FIGURE 21

Frederick H . E v a n s ( E n g l i s h , 1 8 5 3 - 1 9 4 3 ) , H e i g h t a n d L i g h t i n B o u r g e s C a t h e d r a l , ca. 1 9 0 0 .
Photogravure print, 27.5 x 19.5 cm ( 1 0 % x 7 % in.). Published in C a m e r a W o r k , no. 4 (October 1903).
L o s Angeles, J . Paul Getty M u s e u m 9 3 . X B . 2 6 . 5 . 2

22
 T H E " I D L E R "

ethos could have been Evans's: " T h e seal o f finish... [as] the final touch of the maker, should be
the evidence that he has passed j u d g m e n t on his o w n creation and confirms the intention o f
unified expression throughout his w o r k . " 16

Evans's exacting standards o f p r i n t presentation were evident i n the suggestions he circu­

lated to Links preparing for the 1901 Photographic Salon. H e encouraged other exhibitors to
follow his lead w i t h small prints mounted on muted gray and taupe-colored papers, properly
p r o p o r t i o n e d w i t h secondary layers i n complementary hues. H e advised that monograms be
placed i n the lower right corner o f the p r i n t or mount, and the whole piece surrounded by a
dark-stained oak frame w i t h simple, narrow m o l d i n g s . T h i s was a considered aesthetic stance
17

i n keeping w i t h evolving taste. U n t i l the early 1890s, photographic exhibitions had been a sty­
listic free-for-all, w i t h pieces mounted and framed i n a variety o f colors and finishes, including
glaring white Bristol board mounts set w i t h i n cheap gold frames. But the Photographic Salon
presented a new look i n 1893, its very first year. George Davison, a member o f the exhibition
committee, described "the quieter and more harmonious effect, b o t h as regards the individual
pictures and the whole gallery[,] produced by close framing and lower-toned m o u n t s . " 18

I n 1904 and 1908 Evans again presented detailed instructions on m o u n t i n g photographs. 19

H e favored fine papers i n muted earth colors, a taste shared w i t h Links such as Davison, w h o
advocated "coffee-tinted etching papers.. Japanese papers... [and] hand-made crayon papers
(grey, b r o w n , buff, greenish grey, brown-green)." Such materials were inspired by the Arts and
20

Crafts movement and by Aestheticism, a sensibility o n display i n the olive green e x h i b i t i o n

rooms o f the fashionable Grosvenor Gallery. T h e palette became commonplace; the ready-
21

made mounts and m o u n t i n g papers i n the 1910 Houghtons photographic catalogue were avail­
able i n appropriately Aesthetic "grosvenor green," "gray bark," "mist gray," and "autumn
b r o w n , " among other poetically titled hues. Houghtons described some of its ready-cut papers
22

as suitable for "the new American system o f mounting." T h a t m i g h t have been a reference to
the style o f multiple layered mounts {see plate 40} used by Evans and the American photogra­
pher Fred H o l l a n d Day {see plate 114}, a friend and fellow L i n k , b u t the genesis o f the term
may have been more prosaic: i n 1908, Evans reported that his mounts were made from papers
imported from A m e r i c a . 23

By the time layered mounts were adopted for the elegant pages of Alfred Stieglitz's Camera
Work {fig. 21}, Evans had moved on to single mounts inked w i t h narrow ruled borders {see plate
38}. H e was inspired by the presentation o f engravings and lithographs, w h i c h were set off from
their surrounds by r u l e d borders whose interstices were filled w i t h light tints o f complemen­
tary colors {fig. 2 2 } . 24
Evans p r o m o t e d layered mounts as an accessible presentation for those
insufficiently skilled to manage ruled borders. T h i s approach was popular; i n 1907 the Kodak
Recorder r e p r o d u c e d family snapshots pasted onto m u l t i p l e paper m o u n t s . 25
A shortcut was
available by 1911, w h e n the Craftsman introduced mounts w i t h colored borders that imitated
multiple m o u n t i n g {fig. 2 3 } . T h i s k i n d o f fakery w o u l d not have appealed to Evans the purist.
26

Yet, while he was emphatic i n his rejection o f the idea that photographs should emulate the
material characteristics o f other visual arts, his mounts often show an embossed surround to the
p r i n t , reproducing the plate strike-mark o f p r i n t m a k i n g . 27

However complicated the p r o d u c t i o n , Evans's overriding concern was a tasteful, restrained

presentation that displayed the photograph to best effect: "Ours is a monochrome art, and we
must beware how we endeavour to enrich i t by means o f colour i n our mounts. T h e tints o f our
papers must be such that they are felt only as low-toned washes, or narrow dividing lines; their

23
 K I N G S L E Y

FIGURE 22

H u b e r t R o b e r t ( F r e n c h , 1 7 3 3 - 1 8 0 8 ) , L a n d s c a p e w i t h R u i n s , 1772. P e n a n d b r o w n i n k , b r o w n a n d blue w a s h e s ,
over b l a c k c h a l k o n paper, 57.2 x 7 8 . 1 c m (22 V2 x 3 0 % i n . ) . L o s A n g e l e s , J . P a u l G e t t y M u s e u m 8 3 . G G . 3 7

F I G U R E 2 3

The Craftsman, A Series of Artistic flexible pastef-Jon mounts.

E n v e l o p e w i t h 12 m o u n t s o f 12 different c o m b i n a t i o n s , quarter-plate size, c a . 1911.
C a r t r i d g e p a p e r w i t h i n k - p r i n t i l l u s t r a t i o n a n d b o r d e r s , 18.8 x 25.8 c m (7V2 x l o V s i
Collection of Hope Kingsley

2 4
 T H E " I D L E R "

colour must not be felt i n and for itself, b u t only as a differentiating something to what is on each
side o f i t . " 2 8

Evans and the Photographic Salon

Evans p u t his ideas into practice w h e n he took over the design and hanging o f the Photographic
Salon i n 1902. H e criticized previous exhibitions: " T h e mass o f low-toned pictures i n low-
toned frames, on a low-toned background[,] have given a sense o f d e p r e s s i o n — Y o u felt the
show was probably a sad and d u l l o n e . " 29
Evans lightened the walls w i t h a j u t e canvas covering,
a cream-colored dado rail, and matching vertical moldings that broke the r u n o f pictures o n the
wall. T h e walls above the dado were covered i n a light gray arras, a heavy, handwoven fabric.
T h e installation i n c l u d e d a velarium, an overhead awning that diffused the brightness o f the
gallery skylights. Velaria had been used i n private L o n d o n galleries for over a century, and one
is visible i n James M c N e i l l Whistler's d r a w i n g o f the Society o f B r i t i s h Artists e x h i b i t i o n i n
1886-87 {fig. 24}. By 1895 a velarium had been installed at the Photographic Salon at the Dudley
Gallery, and two years later George Walton included an elaborate tented canopy i n his design
for the Eastman International E x h i b i t i o n {fig. 2 5 } . 30

f i g u r e 2 5

U n k n o w n p o t o g r a p h e r i n s t a l l a t i o n e a s t m a s i n t e r n a t i o n a l p h o t o g r a p h u i c

E x h i b t i o n , t h e n e w g a l l e r y l o n d o n , 1 8 5 7 , h a l f t o n e i l l u s t r a t i o 9 n f r o m

t h e ; p t r a c t i c l e p h o t o g r a p h e r 8 , n o 8 5 ( j a n u a r y 1 8 5 4 7 )

Br a f o r d e n g l a n d r p s l i b r a r y t h e n a t i o n a l m e d i a m u s e u m

d k a oc k c o l l e c t i o n m i a s c 0 0 1 8 0

FIGURE 24

James M c N e i l l W h i s t l e r ( A m e r i c a n , 1834-1903), Society of British Artists,

Exhibition View, Suffolk Street, 1886. P e n - a n d - i n k d r a w i n g o n paper,
20 χ 19 c m ( 7 % χ 6 A i n . ) . O x f o r d , E n g l a n d , A s h m o l e a n
l
Museum

25
 KINGSLEY

FAIGURE 26
u n k n o w n p h o t o g r a p h e r , i n s t a l l a t i o n p h o t o g r a p h e r s a l o n , 1 9 0 5 h a k f r t o n e i l l u s t r a t i o n ,

13.1x17.3cm(53/16in).reproduced in the amateru photographer 42,1095(sseptembe426,1995)

in comparison with Walton's Eastman installation ,evan;s hang ewas restrined to the
p o i n t o f austerity, and he retained this p r i n c i p l e over the next four years. H i s 1905 Photographic
Salon installation, i n the more elegant venue o f the Royal Society o f Painters i n Water Colours,
used the same architecture i n a subtle palette o f bay-leaf green walls, b r o w n dado, and d u l l gold
moldings {fig. 26}.
Evans's aesthetic reflected an evolution i n e x h i b i t i o n design, tending toward spaciousness .
and simplicity i n reaction to V i c t o r i a n clutter and ornamentation. A leading concern was over-
crowded walls; the Royal Academy was notorious for stacking frames from floor to ceiling so
that some were "skyed" (very high) or " f l o o r e d " (very l o w ) , b u t at the Grosvenor Gallery and
Whistler's Society o f British Artists exhibitions, a more comfortable number o f pictures were
h u n g at most two or three deep. T h e Photographic Society packed the space at its annual exhi-
bitions, and one o f the spurs to the f o u n d i n g o f the R i n g was the d e m o t i o n o f H . P . Robinson's
photographs from their accustomed and preferential place " o n the l i n e " ( o f sight). A t the 1897
Photographic Salon, where committee members had argued i n vain for a reduction i n works
h u n g , George Walton achieved a partial solution by organizing the photographs into irregularly
spaced g r o u p s . 31
I n 1902 Evans improved o n this arrangement, cutting the number o f pictures
and j u x t a p o s i n g p r i n t , m o u n t , and frame colors for an overall harmony w i t h i n each section—
especially i m p o r t a n t w h e n setting neutral-hued p h o t o g r a p h s , such as Evans's p l a t i n o t y p e s ,
against the sometimes b r i g h t colors o f p i g m e n t p r i n t s . T h e idea owed m u c h to W h i s t l e r ' s
Society o f British Artists exhibitions, where pictures were grouped relative to their size, color,
and tone, so that Whistler's nocturnes were not overwhelmed by larger, more h i g h l y colored
works. 32

Evans's choice o f wall color was also part o f a c o n t i n u u m . T h e default color for the D u d l e y
Gallery was m a r o o n , very like the d u l l red at the Society o f British Artists' Suffolk Street rooms
(before Whistler changed the color to a more Aesthetic-style yellow). By 1897, Photographic
Salon organizers such as James Craig A n n a n were militating for a different wall color. " I t w o u l d
be distinctly interesting to observe the effect o f d o i n g away w i t h what M r . Craig A n n a n has

26
 T H E " I D L E R

called the maroon nightmare, and o f replacing i t w i t h a suitable shade o f coarse canvas w i t h a
frieze o f light linen above," George Davison n o t e d . 33
T h e Dudley's dark red walls were o l d -
fashioned, so the designer o f the 1897 Salon, George Walton, covered the walls i n rough, light
b r o w n canvas, a material and color very close to what Evans w o u l d use for the 1902 Salon.
Walton described the decor as similar to that of Whistler's 1886 show at Dowdeswell's Gallery,
where the " b r o w n paper" wall color and d u l l gold detailing echoed the wrappers o f some o f
Whistler's pamphlets and catalogues. 34
T h i s combination translated into Evans's 1902 Salon
catalogue as a rough b r o w n paper cover w i t h gold lettering. Likewise, i n 1905 his color scheme
for the Salon had dark b r o w n and green walls framed i n "dead g o l d " rails and panels. 35

T h e Demise of the Ring

Evans's connections w i t h the L i n k e d Ring were productive. H e contributed to publications r u n

by fellow L i n k s , including Photography (George Davison was among a number o f Links on the
editorial board) and the Practical Photographer (edited by the Reverend E C . Lambert). I n
a d d i t i o n , he wrote for the Amateur Photographer, whose editor, A . Horsley H i n t o n , was
responsible for Evans's photographic commission for Country Life magazine. But while Evans's
vocation was expanding into a career, the Ring and its Salon were on the decline. I n N e w York,
the Photo-Secession was coalescing into a more forceful association, and the American Links
were restive. I n 1904 they were temporarily appeased w i t h the offer of their o w n Salon Selection
Committee and the assurance that their choices w o u l d be hung. T h i s arrangement impelled
Evans to write to the English Links to reassure them that their Continental and American com­
patriots w o u l d not threaten their place i n the Salon.
T h e Americans were a powerful presence on the 1908 Salon Selection Committee, and
many British Links felt that the Photo-Secession dominated the exhibition. T h e committee
chose j u s t one Evans photograph, Le Moyen Age {plate 18}, but he showed more works—all
architectural views—at an exhibition organized i n opposition to the S a l o n . 36
T h e "Salon des
Refuses" was initiated by F. J. Mortimer, the new editor o f the Amateur Photographer, and
shown at the magazine's offices, advertised as "the little gallery i n L o n g Acre," a barbed para­
phrase o f Stieglitz's " L i t t l e Galleries o f the Photo-Secession" i n N e w Y o r k . 37

T h e following year was the last Salon o f the L i n k e d Ring. T h e Selection Committee now
included fewer Americans but more British members; Evans j o i n e d , as d i d new Links F. J.
M o r t i m e r and J o h n D u d l e y Johnston. However, the issue o f unrepresentative exhibitions re­
mained; o f sixty-eight members o f the L i n k e d Ring, only forty-six showed i n the 1909 Salon.
Evans exhibited six photographs. 38

T h e Salon had lost its impetus and democratic ethos, and at a January 1910 meeting George
Davison proposed an "honourable b u r i a l . " 39
T h e eleven Links present—including Evans,
D u d l e y Johnston, and Maskell—had intended only that the Salon be given u p , not that the Ring
be disbanded. B u t i t was soon recognized that w i t h o u t exhibitions the Ring w o u l d lose its rai­
son d'etre, and so the Brotherhood was dissolved.
Some Links returned to the Camera Club, where they, and the Ring, had begun. Evans
became more involved w i t h the Royal Photographic Society, staging exhibitions and publishing
articles i n the Photographic Journal. I n 1924 and 1937 he donated dozens o f photographs to
Dudley Johnston's newly established Royal Photographic Society Collection. Evans mounted

27
 KINGSLEY

each p r i n t i n his distinctive style, and today one can spot his gifts i n the collection, surrounded
by their beautiful ruled borders and signaling a well-chosen selection o f important works by
Links such as James Craig A n n a n , Robert Demachy, Fred H o l l a n d Day, and Alfred Stieglitz,
among many others.

"Taste, with Faithfulness"

Frederick Evans's works were admired for their thoughtful use o f technology and materials,
tastefully presented i n a modern style inspired by traditional modes. Evans was, above all, care­
fully attentive to the details that accumulated into an evocative whole. H i s artistic vision was
praised by the artist G . A . Storey i n 1897:

Endowed w i t h taste and an infinite capacity for taking pains, he is, to my thinking, a true
artist. N o t content w i t h the mere reproduction o f the sacred walls and their antique col­
umns and finíais, their vaulted roofs w i t h their varying lines and curvature, and hundreds
o f other beauties,.. .he must needs w i t h all due diligence watch day after day for the
moment when a ray of light streaming d o w n on the pavement gives lustre and beauty to the
w o r k , and then judge and consider and decide h o w m u c h , and no more, shall come into
his picture, i n order to give full value to the p o r t i o n he finally selects for his plate. Surely,
all this is artist's w o r k . 4 0

Storey identified two key qualities i n art, "taste" and "faithfulness," and suggested them as
a motto for a photographer—"one that he might write u p o n his camera: 'Taste, w i t h faithful­
ness'; and perhaps, i f he whispered it into his little box, that little box might reply, 'Yes, y o u do
the taste, I ' l l do the faithfulness.'" 41
I n Evans's w o r k and ethos, these two attributes were evi­
dent and i n generous supply.

Notes

1 O n the " A t H o m e s , " see D o u g l a s Sladen, Twenty Years of My 4 F r e d e r i c k H . Evans, "Glass versus Paper," Camera Work,
Life ( L o n d o n , 1914; r e p r i n t e d W h i t e f i s h , M o n t a n a , 2 0 0 4 ) , n o . 10 ( A p r i l 1905), p p . 3 6 - 4 1 .
p . 5 9 . G e o r g e B e r n a r d Shaw {see plate 111} was also p a r t o f this 5 O n Maskell's " I m p r e s s i o n i s m , " see " P i c t o r i a l P h o t o g r a p h y at
c i r c l e ; see J e r o m e K . J e r o m e , My Life and Times ( L o n d o n , C h a r i n g Cross R o a d : T h e C a m e r a C l u b ' I n v i t a t i o n
1926), p p . 1 6 0 - 6 3 . Evans p h o t o g r a p h e d o t h e r Idler contribu­ E x h i b i t i o n , ' " Amateur Photographer 16, n o . 420 ( O c t o b e r
tors a n d guests, i n c l u d i n g the w r i t e r G e o r g e E g e r t o n {see 1892), p . 282.
plate 118} a n d the i l l u s t r a t o r D o r a C u r t i s {see plate 119}. See 6 Evans, " W h a t Is a S t r a i g h t P r i n t ? " Amateur Photographer 46,
P h i l i p Waller, Writers, Readers, and Reputations: Literary Life n o . 1191 ( J u l y 1907), p p . 111-12.
in Britain, i8yo-igi8 ( O x f o r d , 2 0 0 6 ) , p p . 417-18. 7 A l f r e d M a s k e l l , " T h e C l a i m s o f P h o t o g r a p h y to R e c o g n i t i o n as
2 F o u n d e d i n 1853, the P h o t o g r a p h i c Society (chartered i n 1894 An" Journal of the Camera Club 5, n o . 6 0 ( J u l y 1891), p . 141.
as the R o y a l P h o t o g r a p h i c Society) was a f o r u m for profes­ 8 Evans, " N o t e s o n T h r e e E x a m p l e s o f the W o r k o f R o b e r t
sionals, manufacturers, a n d serious amateurs. Its e x h i b i t i o n s D e m a c h y , " Amateur Photographer 3 8 , n o . 997 ( N o v e m b e r
i n c o r p o r a t e d p i c t o r i a l , scientific, a n d c o m m e r c i a l c o n t r i b u ­ l
9°3)i PP- 39°~93- T h e i r p h o t o g r a p h i c relations were n o t
tions i n a c r o w d e d a n d disparate m i x . T h e L i n k e d R i n g always so c o r d i a l ; see Camera Work, nos. 18 a n d 19 ( A p r i l a n d
founders were a m o n g those p h o t o g r a p h e r s w h o d i s l i k e d the J u l y 1907), a n d R o b e r t D e m a c h y , " O n the S t r a i g h t P r i n t , "
inartistic company they—and their photographs—were Camera Work, n o . 19 ( J u l y 1907), p p . 2 1 - 2 4 .
forced to keep at the Society's e x h i b i t i o n s . 9 Evans, " S t r a i g h t versus C o n t r o l l e d P r i n t s , " Amateur
3 "Jones versus the M e m b e r s o f the L i n k e d R i n g , " British Photographer 51, n o . 329 ( M a r c h 1910), p . 3 0 3 .
Joimial of Photography 64, n o . 1915 ( J a n u a r y 1897), p . 3 8 . 10 Evans, " A r t i n M o n o c h r o m e , " Amateur Photographer 47,

28
 T H E " I D L E R "

n o . 1219 ( F e b r u a r y 1908), p . 129. Evans c o n s i s t e n t l y p r a i s e d 26 The Craftsman was an A m e r i c a n p e r i o d i c a l d i s t r i b u t e d

s u b t l e t y i n c o l o r ; f o r one e x a m p l e , see Evans, " J o t t i n g s at the in Britain.
R o y a l A c a d e m y , Part I , " Amateur Photographer 3 9 , n o . 1028 27 H o u g h t o n s s o l d " P l a t e - s u n k M o u n t s " e m b o s s e d w i t h a fake
( J u n e 1904), p . 4 8 0 . p l a t e - m a r k . H o u g h t o n s , Photographic Price List (note 22),
11 T h e f o r m a t d e r i v e d f r o m smaller b o o k s that were i n t e n d e d p. 588.
to be h a n d - h e l d . 28 Evans, " N o t e s o n M u l t i p l e M o u n t i n g " ( n o t e 12), p . 104.
12 Evans, " N o t e s o n M u l t i p l e M o u n t i n g , " Photographic 29 W a r d M u i r , " A C h a t w i t h the D e s i g n e r o f the S a l o n , "
Journal 4 8 , n o . 2 ( F e b r u a r y 1908), p . 101. Amateur Photographer 3 6 , n o . 939 ( O c t o b e r 1902), p . 271.
13 Evans, " N o t e s o n M u l t i p l e M o u n t i n g " ( n o t e 12), p . 106. 30 G e o r g e D a v i s o n j o i n e d the E a s t m a n P h o t o g r a p h i c M a t e r i a l s
14 Evans's b l i n d - s t a m p m o n o g r a m m a y have b e e n i n s p i r e d b y the C o m p a n y as assistant manager i n 1897 a n d p r o m p t l y o r g a n i z e d
e m b o s s e d seal, o r " c h o p , " t r a d i t i o n a l l y u s e d b y engravers a n d the E a s t m a n I n t e r n a t i o n a l A m a t e u r P h o t o g r a p h i c E x h i b i t i o n .
publishers o f prints. H e c o m m i s s i o n e d the G l a s g o w a r c h i t e c t a n d designer G e o r g e
15 Eva W a t s o n - S c h i i t z e , " S i g n a t u r e s , " Camera Work, n o . 1 W a l t o n , fresh f r o m d e s i g n i n g the 1897 P h o t o g r a p h i c S a l o n .
( J a n u a r y 1903), p . 3 6 . She c r e d i t e d W h i s t l e r o n p . 3 5 . W a t s o n - C o l i n H a r d i n g , "George Walton and H i s Links w i t h Photog­
S c h i i t z e was an A m e r i c a n P i c t o r i a l i s t associated w i t h the r a p h y , " Photographica World, n o . 6 6 ( S e p t e m b e r 1993), p . 17.
P h o t o - S e c e s s i o n a n d a m e m b e r o f the L i n k e d R i n g f r o m 1901. 31 K a r e n M o o n , George Walton, Designer and Architect (Oxford,
16 W a t s o n - S c h i i t z e , " S i g n a t u r e s " ( n o t e 15), p . 3 6 . 1993), p . 76. W a l t o n also designed the 1898 P h o t o g r a p h i c Salon.
17 M a r g a r e t H a r k e r , The Linked Ring: The Secession Movement in 32 W i n t e r SBA exhibitions o f 1886-87 and 1887-88. Anne
Photography in Britain, 1892-1910 ( L o n d o n , 1979), p . 108. K o v a l , " T h e ' A r t i s t s ' H a v e C o m e O u t a n d the ' B r i t i s h ' R e m a i n :
18 G e o r g e D a v i s o n , " L e s s o n s f r o m the E x h i b i t i o n s , " T h e W h i s t l e r F a c t i o n at the S o c i e t y o f B r i t i s h A r t i s t s , " i n
Photography 5, n o . 257 ( O c t o b e r 1893), p . 635. After the Pre-Raphaelites: Art and Aestheticism in Victorian
19 Evans, " M o u n t i n g the E x h i b i t i o n P r i n t , " Photogram 11, England, Elizabeth Prettejohn, ed. (Manchester, England,
nos. 121-32 ( J a n u a r y to D e c e m b e r 1904). See Evans, " N o t e s 1999), P- 92.
o n M u l t i p l e M o u n t i n g " ( n o t e 12) for Evans's p r e s e n t a t i o n 33 G e o r g e D a v i s o n , " T h e A r r a n g e m e n t o f E x h i b i t i o n Galleries,"
o n his 1908 e x h i b i t i o n at the R o y a l P h o t o g r a p h i c Society. Photography 9 , n o . 445 ( M a y 1897), p . 307.
20 G e o r g e D a v i s o n , " M o u n t i n g a n d F r a m i n g , I I , " Photography 5, 34 M o o n , George Walton ( n o t e 31), p . 6 0 .
n o . 265 ( D e c e m b e r 1893), p . 764. 35 Kenneth McConkey, "Impressionism in Britain," in Impres­
21 C o l l e e n D e n n e y , " T h e G r o s v e n o r G a l l e r y as Palace o f A r t : sionism in Britain, e x h . cat. ( L o n d o n , B a r b i c a n A r t Gallery,
A n E x h i b i t i o n M o d e l , " i n The Grosvenor Gallery: A Palace of 1995), p . 33. Evans's 1905 Salon design is discussed i n
Art in Victorian England, Susan P. Casteras a n d C o l l e e n Amateur Photographer 4 2 , n o . 1095 ( S e p t e m b e r 1905), p . 253.
D e n n e y , eds. ( N e w H a v e n , 1996), p . 21. 36 Catalogue of the Photographic Salon, 1908, p . 12.
22 T h e catalogue i n c l u d e d " r e a d y - c u t papers for ' t h e n e w 37 J o h n T a y l o r , " T h e S a l o n des R e f u s é s , " History of
A m e r i c a n system o f m o u n t i n g . ' " H o u g h t o n s L t d . , Photography 8, no. 4 ( O c t o b e r - D e c e m b e r 1984), p . 283.
Photographic Price List ( L o n d o n , 1910), p . 6 2 0 . 38 Catalogue of the Photographic Salon, 1909, p p . 12,13,16.
23 ' ' A m e r i c a n p a p e r s i m p o r t e d wholesale b y L i n d e n m e y r , " 39 H a r k e r , The Linked Ring ( n o t e 17), p . 122.
Evans, " N o t e s o n M u l t i p l e M o u n t i n g " ( n o t e 12), p . 112. 40 G . A . Storey, A . R . A . , " P h o t o g r a p h i c P i c t u r e s , " Journal of
24 R u l e d b o r d e r s o n engravings date f r o m the 1600s; t h e y the Camera Club 11, n o . 133 ( J u n e 1897), p . 8 8 . I n the 1890s
became m o r e c o m m o n i n the n i n e t e e n t h c e n t u r y , w h e n Storey p r e s e n t e d a n u m b e r o f papers o n p h o t o g r a p h y ,
the p r e s e n t a t i o n was b o r r o w e d f o r the m o u n t i n g o f a n d he was one o f the j u d g e s o f the i n v i t a t i o n a l section o f
l i t h o g r a p h s . Susan L a m b e r t , Prints: Art and Techniques the 1897 E a s t m a n P h o t o g r a p h i c E x h i b i t i o n .
( L o n d o n , 1999)>Ρ·73· 41 Storey, " P h o t o g r a p h i c P i c t u r e s " ( n o t e 4 0 ) , p . 8 8 .
25 " U n c o n v e n t i o n a l P o r t r a i t u r e , " Kodak Recorder 12 ( J a n u a r y
1907), p p . 1-3.

29
 =j PLATE 1 |

H a w t h o r n a n d B l a c k b e r r y , ca. 1883

32
 I PLATE 2

Foxgloves, ca. 1908

33
 PLATE 3

I n D e e r l e a p Woods, ca. 1908

34
 PLATE 4 |

I n R e d l a n d s Woods: S u r r e y , 1899-1904

35
 I PLATE 5 |

N e w F o r e s t , 1896-97

36
 1 PLATE 6 |

Reflets d a n s V e a u , negative, 1921; print, 1932

37
 —I PLATE 7 J

O n t h e R o a d to W a t e n d l a t h : B o r r o w d a l e , ca. 1885

38
 PLATE 8

A n E n g l i s h G l a c i e r : N e a r S u m m i t ofScafell, ca. 1905

39
 IP L A T E 9

C h a t e a u G a i l l a r d , ca. 1906-7

40
 plate 10
herstmoncen castle, Susses:steps to the upper Garden 1918

41
 plate 11
ingoldmells.ca1898

42
 I P L A T E 12 |

Rye: f r o m W i n c h e l s e a , 1915

43
 j P L A T E 13 |

A v i g n o n , P a l a i s des P a p e s , 1907

44
 P L A T E 14

W i n c h e l s e a : S t a i r s to Q u e e n E l i z a b e t h ' s Well, ca. 1905

45
 I PLATE 15 I

A t C h a n t i l l y , ca. 1906-7

46
 I P L A T E 16 |

M o n t St. M i c h e l : C l o i s t e r s , 1906

47
A perfect photograph is one that perfectly records, reflects its subject
gives is behlder the same order of joy yjat je orginal would

F R E D E R I C K H. E V A N S
 =j P L A T E 17 |

P r o v i n s [ , F r a n c e ] , 1906-7

49
 =\ P L A T E 18 1

C h a t e a u C h e v e n o n (Nevers): L e Moyen A g e , ca. 1906-7

50
 I PLATE 19 {=
P r o v i n s , ca. 1906-7

51
 1 P L A T E 20 |

"A Misty M o r n i n g " — C a n t e r b u r y C a t h e d r a l : A n g e l Tower and Dark Entry, 1889

52
 I P L A T E 21 |

Crypt of C a n t e r b u r y C a t h e d r a l , ca. 1900

53
 =\ P L A T E 22 | =

G l o u c e s t e r [ C a t h e d r a l ] : Tomb of E d w a r d I I , ca. 1889

54
 I PLATE 23 | =\ PLATE 24 \ =

G l o u c e s t e r C a t h e d r a l : E n t r a n c e to A m b u l a t o r y a n d Crypt, 1890 G l o u c e s t e r C a t h e d r a l : S o u t h Triforium to E a s t , 1890

55
 1 P L A T E 25 I

G l o u c e s t e r C a t h e d r a l : The C l o i s t e r s , ca. 1903

56
 PLATE 26

G l o u c e s t e r C a t h e d r a l : N a v e to E a s t

57
 1 P L A T E 27

G l o u c e s t e r C a t h e d r a l , ca. 1900

58
 =\ P L A T E 28 J

Kelmscott M a n o r : F r o m the T h a m e s , 1896

59
 ==========^ PLATE 29

K e l m s c o t t M a n o r : F r o m the G a r d e n , 1896

6ao
 plate 30
kelmsscott int he Garden 1896

61
 1 P L A T E 31 |

K e l m s c o t t M a n o r : I n t h e Tapestry Room, 1896

62
 I PLaATE 32 t-
Kelmscott Manor: William Morris'Bedroom, 1896

63
 =\ P L A T E 33 |

K e l m s c o t t M a n o r [ : T h r o u g h a W i n d o w i n the Tapestry Room], 1896

6 4
 plate 34
kelmscott manor:in theattics(no.1)1896

65
 PLATE 35

K e i m s c o t t M a n o r : I n t h e A t t i c s ([No.] 2), 1896

66
 =| P L A T E 36 | =

Great cohheswell barn (near elmscott); interior,1896

67
 P L A T E 37 |

Great cokkeswell Barn (near Kelmscott),1896

68
 1 P L A T E 38 1

L i n c o l n C a t h e d r a l f r o m the C a s t l e , 1898

69
 I P L A T E 39 |

Roofs[: View of t h e B e l l Tower of L i n c o l n C a t h e d r a l ] , ca. 1895-

70
 I P L A T E 40 1

L i n c o l n C a t h e d r a l : S t a i r s i n S.W. Turret, 1898

71
 1P L A T E 4 1

[ L i n c o l n Cathedral:] N a v e to E a s t , ca. 1898

72
 =j P L A T E 42 |

{linclon Cathedral:} The Angel Choir , ca,188

73
 I P L A T E 43 |

L i n c o l n Cathedral: O r g a n Screen, N o r t h Side, 1895

74
 1 PLATE 44 |

L i n c o l n C a t h e d r a l , 1895

75
 | P L A T E 45 |

E a s t E n d [ : View of the E a s t Facade of Ely C a t h e d r a l ] , ca. 1901

7 6
 I P L A T E 46 |

Ely C a t h e d r a l f r o m t h e B i s h o p ' s G r e e n , 1891

77
 I P L A T E 47 |

Ely C a t h e d r a l : Octagon a n d N a v e , ca. 1899

78
 I PLATE 48 1

Ely C a t h e d r a l , ca. 1911

79
 PLATE 49
Ely Cathedral: A Memory of the Normans S.W. Transept to Nave, 1899

80
 = j P L A T E 50 |

[Ely C a t h e d r a l : ] N o r t h S i d e [ , ] N o r t h T r a n s e p t , 1897-1900

81
 I P L A T E 51 1

Ely C a t h e d r a l : B i s h o p AlcocFs Chapel, 1897

82
 ] P L A T E 52 | =

[Ely C a t h e d r a l : ] Chapel of B i s h o p West, S [ o u ] t h C h o i r A i s l e , 1897-1900

83
 = | P L A T E 53 | =

[Ely C a t h e d r a l : D e t a i l s of a N o r m a n D o o r A r c h ] , ca. 1901

8 4
 PLATE 54
[Ely Cathedral;] Gargoyle in Nave Triforium, 1897-1900

85
5
 1 P L A T E 55 |

Southwell—Detailed.. 1902

86
 =1 P L A T E 56 | 1 P L A T E 57 |

S o u t h w e l l C a t h e d r a l , N o r t h Transept T r i f o r i u m , 1898 S o u t h w e l l C a t h e d r a l , N a v e , N o r m a n C a p i t a l , 1898

87
 PLATE 58
Southwell Cathedral, Chapter House Entrance Detail, 1898

88
 =1 P L A T E 59 | | P L A T E 60 |=

S o u t h w e l l C a t h e d r a l , C h a p t e r H o u s e , E n t r a n c e C a p i t a l s , 1898 S o u t h w e l l C a t h e d r a l , C h a p t e r H o u s e C a p i t a l , 1898

89
 PLATE 61

Wells Cathedral: From the Moat, ca. 1903

90
 =j P L A T E 62 | =

[Wells Cathedral:] N . W . Tower a n d N o r t h P o r c h , ca. 1903

91
 I P L A T E 63 |

[Wells Cathedral:] N a v e L o o k i n g West, ca. 1903

92
 =\ P L A T E 64

[Wells C a t h e d r a l : ] Across West E n d of N a v e , 1890-1903

93
 I P L A T E 65

[Wells Cathedral:] S o u t h N a v e A i s l e to West, ca. 1903

94
 Plate 66
Walls cathedral stairs and entrance chapter house 1990

95
 T h e beautiful curve of the steps on the right
as they rise to the height of the Chapter H o u s e floor,
is for all the w o r l d like the surge of a great wave
that w i l l presently break and subside into smaller ones.

FREDERICK H. E V A N S
 I P L A T E 67 |

"A S e a of S t e p s " — S t a i r s to t h e C h a p t e r H o u s e , Wells Cathedral, 1903

97
 =\ P L A T E 68 1

Wells C a t h e d r a l : Canopy of A l t a r i n B i s h o p S u g a r ' s C h a n t r y , 1903

98
 | PLATE 69 |

R h e i m s C a t h e d r a l , negative, 1899; print, 1915

99
 ^ P L A T E 70 |

R h e i m s C a t h e d r a l : West F r o n t ( P r e - W a r ) , negative, 1899; print, 1915

100
 1 P L A T E 71 |

A n g e l , C h o i r Chapel, R h e i m s C a t h e d r a l , ca. 1900

101
 | P L A T E 72 1

[Bourges C a t h e d r a l : View of t h e M a i n Fagadefrom the S t r e e t ] , ca. 1900

102
 ] P L A T E 73 1

[Bourges Cathedral:] P o r t a l of West F r o n t , ca. 1901

103
 =j P L A T E 74 |

B o u r g e s C a t h e d r a l , F r a n c e : S c u l p t u r e o n West F r o n t — N o a h a n d t h e A r k , 1899

104
 =j P L A T E 75- 1 -

B o u r g e s C a t h e d r a l : J u d g m e n t P a n e l , West F r o n t , 1899

105
 1 P L A T E 76 | 1 P L A T E 77 I

B o u r g e s C a t h e d r a l , 1900 H e i g h t a n d L i g h t i n B o u r g e s C a t h e d r a l , 1900

io6
 I P L A T E 78 1

Bourges Cathedral Aisle a n d Nave, 1900

107
Photography is photography; and i n its purity and innocence
is far too uniquely valuable and beautiful
to be spoilt by making it imitate something else.

FREDERICK H. EVANS
 1 P L A T E 79 |

[Bourges Cathedral:] The D o u b l e A i s l e s , ca. 1901

109
 PLATE 80 PLATE 81 PLATE 82

Winchester [Cathedral:] Winchester [Cathedral] Nave: Details Winchester [Cathedral:] Details of Nave Roof
The Nave, W, ca. 1885 [of] Iron Grille, 1900 and Clerestory, 1900

110
 1 P L A T E 83 | =

Winchester Cathedral: Altar, 1900

Ill
 I l\\

| P L A T E 84 |

[York M i n s t e r : ] E n t r a n c e to C h a p t e r H o u s e , 1901

112
 I P L A T E 85 1

\ York M i n s t e r : ] A Peek i n t o t h e C h a p t e r H o u s e , ca. 1904

113
 I PLATE'86 |=

{YORK MINISTER DETAILS OF SCULPTURE DESCRIPTION CHAPTER HOUSE CA 1902

114
 =j P L A T E 87 | -

[York M i n s t e r : D e t a i l s of S c u l p t u r a l D e c o r a t i o n , ] C h a p t e r H o u s e , ca. 1902

"5
 =\ P L A T E 88 \ =

"In S u r e a n d C e r t a i n H o p e " — Y o r k M i n s t e r , N o r t h Transept: E n t r a n c e to C h a p t e r H o u s e , 1902

116
 ==\ P L A T E 89 | =

[York M i n s t e r , ] N o r t h Transept: The F i v e S i s t e r s , 1902

117
 ] PLATE 90 1

R o u e n C a t h e d r a l , 1899-1905

118
 1 PLATE 91 |=

Arles Cloisters, ca. 1906-/

119
 O f the thousands w h o have photographed cathedrals,
none has imbued his pictures w i t h such poetic qualities
coupled w i t h such masterful treatment.

ALFRED STIEGL1TZ
 I P L A T E 92 | =

C h a r t r e s C a t h e d r a l : N o r t h P o r c h , ca. 1910

121
 ^ P L A T E 93 f =

A Pillar ofChartres, 1906

122
 PLATE 94

THE SCULPTURE ARTIST OF CHATRES 1908

123
 PLATE 95
[Westminster Abbey,] Chapel of Henry VII: Roof of Fan Tracery Vaulting, 1911

124
 =] P L A T E 96

[ W e s t m i n s t e r Abbey:] S o u t h N a v e A i s l e to West, 1911

125
 1 P L A T E 97 [

[ W e s t m i n s t e r Abbey:] F r o m the S o u t h T r a n s e p t , 1911

126
 ^ P L A T E 98

[ W e s t m i n s t e r Abbey:] Confessor's Chapel, Tomb of H e n r y I I I , 1911

127
 =1 P L A T E 99 |

[ W e s t m i n s t e r Abbey:] Confessor's Chapel, Staircase on N o r t h Side, 1911

128
 1 P L A T E 100 |

[ W e s t m i n s t e r Abbey:] Confessor's Chapel, C o r o n a t i o n C h a i r w i t h S t o n e of S c o n e , 1911

129
 =j P L A T E 101

[ W e s t m i n s t e r Abbey:] E a s t E n d of S o u t h A m b u l a t o r y , Top D e t a i l , 1911

130
 P L A T E 102

[ W e s t m i n s t e r Abbey,] Chapel of H e n r y VII: D e t a i l of B r o n z e Tomb of H e n r y VII, 1911

131
 PLATE 103

Durham cathdrel from the war 1911

132
 PLATE 104
Durham Cathedral: From the Close, 1912

133
 1 P L A T E 105 |

D u r h a m Cathedral, 1912

134
 I P L A T E 106 |

D u r h a m C a t h e d r a l , ca. 1911

135
 I P L A T E 107 |

Across the N a v e of D u r h a m [ C a t h e d r a l ] , ca. 1912

136
 I P L A T E 108 [

G a l i l e e Chapel[: Bede's Tomb, D u r h a m C a t h e d r a l ] , ca. 1911

137
 1 P L A T E 109 |

Dr. J o h n Todhunter, 1890

138
 1 P L A T E 110 |

H u b e r t B l a n d ( F a b i a n S \ o c i e t y \ ) , ca. 1895-1900

139
 plate 111
George birwarl slave 1992

140
 -j P L A T E 112 \

A u b r e y B e a r d s l e y , 1894

141
 | P L A T E 113 |

A r t h u r S y m o n s , ca. 1895-1900

142
 1 P L A T E 114 |

[F. H o l l a n d Day] I n Arab Costume, 1901

143
 \ P L A T E 115 |

A l v i n L a n g d o n C o b u r n , ca. 1900

144
 1 P L A T E 116 |

J e r o m e P o l l i t t , ca. 1894

145
 I P L A T E 117 |

P h y l l i s H a t t o n , ca. 1900

146
 =\ P L A T E 118 |

"George E g e r t o n " ca. 1900

147
 I P L A T E 119 1
D o r a C u r t i s , ca. 1895-1900

148
 1 P L A T E 120 |

M r s . Frederick E v a n s , ca. 1900

149
 Plate List

N O T E : Items marked with an asterisk (*) have multiple paper mounts, and the dimensions shown are for the final mount.

PLATE 1 PLATE 6 PLATE 11

H a w t h o r n a n d B l a c k b e r r y , ca. 1883 Reflets d a n s U e a u , negative, 1921; print, 1932 I n g o l d m e l l s , ca. 1898
Glass lantern slide Platinum print Platinum print
I M A G E : 7.1 x 7.3 cm ( 2 / I G X 2% in.)
13
I M A G E : 16.5 x 8.6 cm (6V2 x 3 % in.) I M A G E : 9.7 x 13.5 cm ( 3 / I G x 5 /ie in.)
13 5

P L A T E : 8.3 x 8.3 cm (3M x 3M in.) * M O U N T : 21.3 x 12.2 cm ( 8 % x 4 /ie in.) 13

M O U N T : 33 x 25.4 cm (13 x 10 in.)
Los Angeles, J . Paul Getty Museum Bradford, England, R P S Collection at the Los Angeles, J . Paul Getty Museum
84.XH.1616.6 National Media Museum/ssPL RPS 8019 85.XM.399

PLATE 2 PLATE 7 PLATE 12

F o x g l o v e s , ca. 1908
Platinum print
I M A G E : 14.9 x 8.4 cm ( 5 % x 3 /ie in.) 5
M O U N T : 31.8 x 25.4 cm (12 A x 10 in.)l
O n the R o a d to Watendlath: B o r r o w d a l e , Rye: f r o m W i n c h e l s e a , 1915
ca. 1885 Gelatin silver print
Platinum print I M A G E : 15.4 x 20.5 cm (6 Vie x 8 Vie in.)
I M A G E : 24.7 x 16 cm ( 9 % x 6 A e in.) 5
M O U N T : 30 x 40 cm ( l l / i e x 15% in.)
13

Philadelphia Museum of Art 1975-158-9 M O U N T : 48.3 x 37.1 cm (19 x 14% in.) Los Angeles, J . Paul Getty Museum
Rochester, New York, George Eastman House
PLATE 3 84.XM.444.85
International Museum of Photography and
I n D e e r l e a p W o o d s , ca. 1908
F i l m 81:1198:12 PLATE 13
Platinum print
A v i g n o n , P a l a i s des Rapes, 1907
I M A G E : 14.6 x 11.1 cm (5% x 4 /s in.) 3
PLATE 8
Platinum print
M O U N T : 51.4 x 37.5 cm ( 2 0 A x 14% in.)
l
A n English Glacier: Near S u m m i t ofScafell,
I M A G E : 24.2 x 19.1 cm ( 9 V 2 x 7V2 in.)
Philadelphia Museum of Art 1968-220-8 ca. 1905
M O U N T : 45.2 x 33.5 cm (i7 /io x i3 /ie in.)
13 3

Platinum print
PLATE 4 Bradford, England, R P S Collection at the
I M A G E : 25.2 x 16.5 cm (Q /IG 15
x 6V2 in.)
I n R e d l a n d s Woods: S u r r e y , 1899-1904 National Media Museum/ssPL RPS 482
M O U N T : 48.9 x 34.4 cm (19 VA X 13^16 in.)
Platinum print PLATE 14
Philadelphia Museum of Art 1968-220-2
I M A G E : 29.1 x 22.9 cm ( l i M e x 9 in.) Winchelsea: Stairs to Queen Elizabeth's Well,
M O U N T : 52.1 x 36.8 cm (20/2 x 14Vi in.) PLATE 9 ca. 1905
Los Angeles, J . Paul Getty Museum C h a t e a u G a i l l a r d , ca. 1906-7 Platinum print
84.XM.444.34 Platinum print I M A G E : 22.9 x 18.9 cm (9 x 7 ^ 6 in.)
I M A G E : 14.9 x 9.8 cm ( 5 % x 3% in.) M O U N T : 49.1 x 37.5 cm (i9 /ie x 14% in.)
5

PLATE 5
M O U N T : 33 x 25.4 cm (13 x 10 in.) Rochester, New York, George Eastman House
N e w F o r e s t , 1896-97
Philadelphia Museum of Art 1968-220-14 International Museum of Photography and
Platinum print
F i l m 81:1198:98
I M A G E : 14.4 x 20.2 cm ( 5 / i 6 x 7 /ic in.)
u 15
PLATE 10
Los Angeles, J . Paul Getty Museum H e r s t m o n c e u x Castle, Sussex: PLATE 15
84.XM.444.83 Steps t o t h e Upper G a r d e n , 1918 A t C h a n t i l l y , ca. 1906-7
Gelatin silver print Platinum print
I M A G E : 18.6 x 23.5 cm (yVw x 9M in.) I M A G E : 23.5 x 17.1 cm (9M x 6% in.)
M O U N T : 31.9 x 43.2 cm (i2 /ie x 17 in.)
9
M O U N T : 39.1 x 28.3 cm (i5 /s x 11 Ys in.)
3

Los Angeles, J . Paul Getty Museum Philadelphia Museum of Art 1968-220-5

84.xp.459.18

150
 PLATE LIST

PLATE 16
M o n t St. M i c h e l : C l o i s t e r s , 1906
Gloucester Cathedral Kelmscott Manor
Platinum print Formally named the Cathedral Church of Saint Kelmscott Manor was built in the late 1500s
I M A G E : 21 x 11.1 cm (8!4 x 4% in.) Peter and the Holy and Undivided Trinity, adjacent to the River Thames. Beginning in
M O U N T : 35.6 x 24.8 cm (14 x 9% in.) this Romanesque and Gothic building in 1871 the Tudor farmhouse was the summer
Philadelphia Museum of Art 1968-220-42 the southwestern part of England was begun home of William Morris, leader of the Arts and
in 1089 and completed in 1499. During the Crafts movement.
PLATE 17
nineteenth century the cathedral was restored
P r o v i n s [ , F r a n c e ] , 1906-7 PLATE 28
by the architect Sir George Gilbert Scott.
Platinum print K e l m s c o t t M a n o r : F r o m t h e T h a m e s , 1896
I M A G E : 10.3 x 13.3 cm (4Me x 5% in.) PLATE 2 2 Platinum print
M O U N T : 38.1 x 22.9 cm (15 x 11 in.) G l o u c e s t e r [ C a t h e d r a l ] : T o m b of E d w a r d I I , I M A G E : 7.8 x 20.2 cm ( 3 M 6 x 7 / I G 1 5
in.)
Philadelphia Museum of Art 1968-220-43 ca. 1889 M O U N T : 28.3 x 35.7 cm (11 Ys x 14V\o in.)
Glass lantern slide Los Angeles, J . Paul Getty Museum
PLATE 18
I M A G E : 7.1 x 7.3 cm (2 /ie x 2% in.)
13
84.XM.444.96
C h a t e a u Chevenon (Nevers): L e M o y e n A g e ,
P L A T E : 8.3 x 8.3 cm ( 3 ^ x 3 /} in.) 1

ca. 1906-7 PLATE 29

Los Angeles, J . Paul Getty Museum
Platinum print K e l m s c o t t M a n o r : F r o m t h e G a r d e n , 1896
84.XH. 1616.4
I M A G E : 25.6 x 20.3 cm (10Me x 8 in.) Platinum print
M O U N T : 47.8 x 35.4 cm ( I 8 / I G X I3 /ie in.)
1 3 15
PLATE 2 3 I M A G E : 14.3 x 20.3 cm (5 /s x 8 in.) 5

Rochester, New York, George Eastman House Gloucester Cathedral: E n t r a n c e to M O U N T : 28.3 x 35.7 cm (11 Vs x 14 V\G in.)
International Museum of Photography and A m b u l a t o r y a n d C r y p t , 1890 L o s Angeles, J . Paul Getty Museum
F i l m 81:1198:35 Glass lantern slide 84.XM.444.97
I M A G E : 7.1 x 7.1 cm ( 2 / I G x 2 /ie in.)
1 3 13

PLATE 19 PLATE 30
P L A T E : 8.3 x 8.3 cm (3% x $ A l
in.)
P r o v i n s , ca. 1906-7 K e l m s c o t t M a n o r : I n t h e G a r d e n , 1896
L o s Angeles, J . Paul Getty Museum
Platinum print Platinum print
84.XH.1616.8
I M A G E : 27.3 x 8.8 cm (10% x 3 V 1 6 in.) I M A G E : 18.3 x 14.3 cm ( 7 / I G X 5%
3
in.)
M O U N T : 43.6 x 21.5 cm ( I 7 / I G x 8716 in.)
3
PLATE 24 M O U N T : 35.7 x 28.3 cm ( I ^ V I G x 11 Vs in.)
Rochester, New York, George Eastman House Gloucester Cathedral: South T r i f o r i u m L o s Angeles, J . Paul Getty Museum
International Museum of Photography and t o E a s t , 1890 84.XM.444.92
F i l m 81:1198:19 Glass lantern slide
PLATE 31
I M A G E : 5.1 x 7.3 cm (2 x 2% in.)
K e l m s c o t t M a n o r : I n t h e T a p e s t r y R o o m , 1896
P L A T E : 8.3 x 8.3 cm (3% x 3 ^ in.)
Canterbury Cathedral L o s Angeles, J . Paul Getty Museum
Platinum print
I M A G E : 18.3 x 14.8 cm ( 7 / I G x 5 / I G in.)
3 1 3

Built between 1174 and 1510, the Cathedral and 84.XH.1616.9

MOUNT: 35.7 x 28.4 cm ( i ^ V i e x H /IG
3
in.)
Metropolitical C h u r c h of Christ, known as
PLATE 25 Los Angeles, J . Paul Getty Museum
Canterbury Cathedral, is in the Norman Gothic
G l o u c e s t e r C a t h e d r a l : T h e C l o i s t e r s , ca. 1903 84.XM.444.90
style. Located in Canterbury, England, the
Platinum print
cathedral is mother church to the Anglican PLATE 32
I M A G E : 21.6 x 25.4 cm ( 8 / 2 x 10 in.)
Communion worldwide. Kelmscott M a n o r : W i l l i a m M o r r i s ' B e d r o o m ,
M O U N T : 30.5 x 33.5 cm (12 x i ^ / w in.) 3

1896
PLATE 20 Philadelphia Museum of Art 1970-31-27
Platinum print
"A M i s t y M o r n i n g " — C a n t e r b u r y Cathedral:
PLATE 26 I M A G E : 17.3 x 14.9 cm ( 6 / I G X 5%
1 3
in.)
A n g e l T o w e r a n d D a r k E n t r y , 1889
G l o u c e s t e r C a t h e d r a l : N a v e t o E a s t , 1891 M O U N T : 35.9 x 28.3 cm (14Vs x i \ V s in.)
Platinum print
Platinum print Los Angeles, J . Paul Getty Museum
I M A G E : 14.7 x 10.2 cm (5 /ie x 4 in.)
13

I M A G E : 14.5 x 11.5 cm ( 5 / i 6 x 4 / 2 in.)

n
84.XM.444.95
M O U N T : 16 x 11.2 cm ( 6 / I G x 4 % G in.)
5

M O U N T : 33 x 28.2 cm (13 x nVs in.)

Montreal, Collection Centre Canadien PLATE 33
Bradford, England, R P S Collection at the
dArchitecture / Canadian Centre for Kelmscott M a n o r [ : Through a Window i n the
National Media Museum/ssPL RPS 5019
Architecture PH 1978:0137 T a p e s t r y R o o m ] , 1896
PLATE 27 Platinum print
PLATE 2 1
G l o u c e s t e r C a t h e d r a l , ca. 1900 I M A G E : 19.1 x 10.8 cm (7/2 x 4 ^ in.)
C r y p t of C a n t e r b u r y C a t h e d r a l , ca. 1900
Platinum print M O U N T : 38.7 x 27.5 cm (i5!4 x I O / I G in.) , 3

Platinum print
I M A G E : 15.2 x 9.5 cm (6 x 3% in.) Philadelphia Museum of Art 1968-220-10
I M A G E : 14.6 x 10.2 cm (5% x 4 in.)
M O U N T : 32.4 x 26 cm (12% x 10 A l
in.)
M O U N T : 32.4 x 26 cm (12% x 10!4 in.)
L o s Angeles County Museum of Art
Los Angeles County Museum of Art
M.2008.40.725
M.2008.40.726

151
 A

PLATE 34 PLATE 39
E l y Cathedral
Kelmscott M a n o r : I n the Attics (No. 1 ) , Roofs[: V i e w of t h e B e l l T o w e r of L i n c o l n
1896 C a t h e d r a l ] , 1895-98 Located in Cambridgeshire, England, the
Platinum print Platinum print Cathedral Church of the Holy and Undivided
I M A G E : 15.6 x 20.2 cm ( 6 V s x J 1 5
AG in.) I M A G E : 11.7 x 9.4 cm ( 4 % x 3 / i 6 in.) u
Trinity was built between 1083 and 1375. It is
M O U N T : 28.3 x 35.7 cm (11Vs x 14Vie in.) F I R S T M O U N T : 14 x 11 cm ( 5 / 2 x 4 / i 6 in.) 5
an example of Romanesque and Gothic styles
Los Angeles, J . Paul Getty Museum S E C O N D M O U N T : 42.1 X 32 CHI of architecture. Dominating the low-lying
84.XM.444.89 (i6 /ie x 12% in.)
9
countryside in which it is set, the cathedral is
Montreal, Collection Centre Canadien known locally as "the ship of the Fens."
PLATE 35
dArchitecture / Canadian Centre for
K e l m s c o t t M a n o r : I n t h e A t t i c s ([No.] 2 ) , 1896 PLATE 45
Architecture PH1984:0503
Platinum print E a s t E n d [ : V i e w of t h e E a s t F a c a d e of
I M A G E : 19.9 x 14.9 cm ( 7 % x 5% in.) PLATE 40 E l y C a t h e d r a l ] , ca. 1901
M O U N T : 35.6 x 28.6 cm (14 x 11 A in.) L
L i n c o l n C a t h e d r a l : S t a i r s i n S. W. T u r r e t , Platinum print
Los Angeles, J . Paul Getty Museum 1898 I M A G E : 9.7 x 7.2 cm (3% x 2 / I G in.) 1 3

84.XM.444.1 Photogravure F I R S T M O U N T : 12.1 x 8.9 cm (4% x 3 V 2 in.)

I M A G E : 19.6 x 12.8 cm ( 7 / i 6 x 5V16 in.)

u
S E C O N D M O U N T : 32.2 X 24-1 C m
PLATE 36
* M O U N T : 43.7 x 31.1 cm (i7 /ie x 12 !4 in.)3
( i 2 / i 6 x 9 V 2 in.)
u

Great Cokkeswell B a r n (near Kelmscott):

Bradford, England, R P S Collection at the Montreal, Collection Centre Canadien
I n t e r i o r , 1896
National Media Museum/ssPL RPS 4388/3 dArchitecture / Canadian Centre for
Platinum print
Architecture ^11978:0272
I M A G E : 18.4 x 15.2 cm ( 7 V 1 x 6 in.) PLATE 41
M O U N T : 35.9 x 28.3 cm (14Vs x 11 Vs in.) [ L i n c o l n Cathedral:] Nave to East, PLATE 46

Los Angeles, J . Paul Getty Museum ca. 1898 E l y C a t h e d r a l f r o m t h e B i s h o p ' s G r e e n , 1891

84.XM.444.93 Platinum print Platinum print
I M A G E : 24.8 x 19.7 cm (9% x 7% in.) I M A G E : 14.6 x 10.8 cm (5% x 4 V 1 in.)
PLATE 37
M O U N T : 48.9 x 58.4 cm (19 A x 23 l
in.) M O U N T : 32.7 x 28.1 cm (12% x 11 Vic in.)
G r e a t Cokkeswell B a m (near Kelmscott),
Philadelphia Museum of Art 1970-31-32 Los Angeles County Museum of Art
1896
M.2008.40.737
Platinum print PLATE 42
I M A G E : 14.6 x 20 cm (5% x 7 % in.) [Lincoln Cathedral:] The Angel Choir, PLATE 47

M O U N T : 28.4 x 35.9 cm ( n / i 6 x 14Vs

3
in.) ca. 1898 E l y C a t h e d r a l : O c t a g o n a n d N a v e , ca. 1899
Los Angeles, J . Paul Getty Museum Platinum print Platinum print
84.XM.444.91 I M A G E : 19.7 x 15.2 cm (7% x 6 in.) I M A G E : 20 x 15.1 cm (7% x 5 % ) in.)

M O U N T : 49.5 x 33.7 cm (19 V2 x 13^ in.) M O U N T : 52.1 x 32.4 cm (20/4 x 12% in.)

Philadelphia Museum of Art 1970-31-31 Philadelphia Museum of Art 1973-197-12

Lincoln Cathedral
PLATE 43 PLATE 48
A n example of Gothic architecture, the
L i n c o l n Cathedral: O r g a n Screen, E l y C a t h e d r a l , ca. 1911
Cathedral Church of the Blessed Virgin Mary
N o r t h S i d e , 1895 Platinum print
of Lincoln was built in Lincolnshire,
Platinum print I M A G E : 26.2 x 19.7 cm ( I O V I G x 7% in.)
England, between 1185 and 1311. T h e bishop
I M A G E : 19.1 x 12.9 cm ( 7 V 2 x 5Mo in.) * M O U N T : 43.8 x 31.4 cm (17V4 x 12% in.)
of L i n c o l n was one of the signatories of
M O U N T : 32.5 x 26.3 cm ( i 2 / i e x 10% in.) 1 3
Bradford, England, R P S Collection at the
the Magna Carta, a copy of which was held
Los Angeles, J . Paul Getty Museum National Media Museum/ssPL RPS 4359
at the cathedral for several hundred years.
84.XM.444.37
PLATE 49
PLATE 38
PLATE 44 E l y C a t h e d r a l : A M e m o r y of t h e N o r m a n s
L i n c o l n C a t h e d r a l f r o m t h e C a s t l e , 1898
L i n c o l n C a t h e d r a l , 1895 S. W. T r a n s e p t t o N a v e , 1899
Photogravure
Platinum print Platinum print
I M A G E : 21 x 15.9 cm (8!4 x6!4 in.)
I M A G E : 14.6 x 18.4 cm (5% x y A l
in.) I M A G E : 20.4 x 14 cm (8Me x 5% in.)
F I R S T M O U N T : 28.5 x 18.3 cm
F I R S T M O U N T : 17 x 20.2 cm ( 6 / i 6 x 7 ^ 1 6 in.)
n
* M O U N T : 44.1 x 32 cm (i7 /s x 12% in.)
3

(IO /IG x y / i 6
3 3
in.)
S E C O N D M O U N T : 41.9 X 32.4 C m Bradford, England, R P S Collection at the
S E C O N D M O U N T : 32.5 x 25.2 cm
(16 V2 x 12% in.) National Media Museum/ssPL RPS 4381/3
(i2 /i6 x g A e in.)
13 1 5

Los Angeles, J . Paul Getty Museum

Bradford, England, R P S Collection at the
84.XM.444.35
National Media Museum/ssPL RPS 8015/1

152
 PLATE LIST

PLATE 50 PLATE 60
Southwell Cathedral Southwell Cathedral, Chapter House
[Ely Cathedral:] N o r t h Side[ ] } North
T r a n s e p t , 1897-1900 Noted for its exquisite botanical carving, the C a p i t a l , 1898
Platinum print Cathedral and Parish Church of the Blessed Platinum print
I M A G E : 19.4 x 15.4 cm ( 7 % x 6 Vic in.) Virgin Mary is an example of Romanesque I M A G E : 11.4 x 8.7 cm ( 4 / 2 x 3^10 in.)
F I R S T M O U N T : 22.1 x 17.3 cm and Gothic architecture. It was built between M O U N T : 22.8 x 16.2 cm (9 x 6 /s 3
in.)
( 8 / i 6 x 6 / i 6 in.)
n 1 3
about 1108 and about 1300 in Nottinghamshire, Los Angeles, J . Paul Getty Museum
S E C O N D M O U N T : 52.1 X 32.4 C m England. 84.XM.444.54
(20 A x 12% in.)
l

PLATE 55
Los Angeles, J . Paul Getty Museum
S o u t h w e l l — D e t a i l , ca. 1902 Wells Cathedral
84.XM.444.17
Platinum print
Known as the most poetic of the English
PLATE 51 I M A G E : 11.1 x 9.2 cm (4 /s x 3 /s
3 5
in.)
cathedrals, the Cathedral Church of Saint
E l y C a t h e d r a l : B i s h o p A l c o c k ' s C h a p e l , 1897 M O U N T : 31.8 x 24.1 cm (12V2 x 9 / 2 in.)
Andrew at Wells, England, was built in
Platinum print Los Angeles County Museum of Art
the style of Early English Gothic between
I M A G E : 26 x 17.9 cm (10 VA x 7 /ie in.) 1
M.2008.40.716
1176 and 1490.
M O U N T : 33 x 24.2 cm (13 x 9% in.)
PLATE 56
Los Angeles, J . Paul Getty Museum PLATE 61
Southwell Cathedral, North Transept
84.XM.444.44 W e l l s C a t h e d r a l : F r o m t h e M o a t , ca. 1903
T r i f o r i u m , 1898
Gelatin bromide print
PLATE 52 Platinum print
I M A G E : 17.6 x 23.7 cm ( 6 / i 6 x Q A G in.)
1 5 5

[Ely C a t h e d r a l : ] C h a p e l of B i s h o p West, I M A G E : 9.5 x 11.6 cm (3% x 4 % 6 in.)

M O U N T : 27.9 x 36.4 cm (11 x 14^0 in.)
S [ o u ] t h C h o i r A i s l e , 1897-1900 M O U N T : 22.9 x 16.3 cm (9 x 6 /s 3
in.)
Philadelphia Museum of Art 1973-197-19
Platinum print Los Angeles, J . Paul Getty Museum
I M A G E : 20.1 x 14.9 cm (7% x 5% in.) 84.XM.444.46 PLATE 62

F I R S T M O U N T : 22.8 x 16.7 cm (9 x 6 % 6 in.) [ W e l l s C a t h e d r a l : ] N W. T o w e r a n d

PLATE 57
S E C O N D M O U N T : 5 2 . l x 32.1 cm N o r t h P o r c h , ca. 1903
Southwell Cathedral, Nave, N o r m a n Capital,
(20 V2 x 12% in.) Platinum print
1898
Los Angeles, J . Paul Getty Museum I M A G E : 14.9 x 9.4 cm ( 5 % x 3 / i 6 in.) n

Platinum print
84.XM.444.14 M O U N T : 17.2 x 11 cm (6% x 4 /w 5
in.)
I M A G E : 8.7 x 10.6 cm (3V16 x 4 /ie in.) 3

Montreal, Collection Centre Canadien

PLATE 53 M O U N T : 22.7 x 16.2 cm ( 8 / i e x 6 /s in.)
15 3

dArchitecture / Canadian Centre for

[Ely C a t h e d r a l : D e t a i l s of a N o r m a n Door L o s Angeles, J . Paul Getty Museum
Architecture PHI984:0502
A r c h ] , ca. 1901 84.XM.444.48
Platinum print PLATE 63
PLATE 58
I M A G E : 14.3 x 19.7 cm ( 5 % x 7 / i 6 in.) n
[Wells Cathedral:] N a v e L o o k i n g West,
Southwell Cathedral, Chapter House
M O U N T : 25.8 x 32.4 cm ( i o / i e x 12% 3
in.) ca. 1903
E n t r a n c e D e t a i l , 1898
Montreal, Collection Centre Canadien Platinum print
Platinum print
dArchitecture / Canadian Centre for I M A G E : 18.1 x 14.9 cm (jYs x 5% in.)
I M A G E : 11.7 x 8.5 cm (4 /ie x 3 /ie in.)
9 5

Architecture PHI979:0096 M O U N T : 41.9 x 32.7 cm {1QV2 x 12% in.)

M O U N T : 22.9 x 16 cm (9 x 6 A G in.) 5

Philadelphia Museum of Art 1973-197-17

PLATE 54 L o s Angeles, J . Paul Getty Museum
[Ely Cathedral:] Gargoyle i nNave Triforium, 84.XM.444.47 PLATE 64

1897-1900 [ Wells C a t h e d r a l : ] A c r o s s West E n d of N a v e

PLATE 59
Platinum print 1890-1903
Southwell Cathedral, Chapter House,
I M A G E : 22.5 x 16.8 cm ( 8 % x 6% in.) Platinum print
E n t r a n c e C a p i t a l s , 1898
F I R S T M O U N T : 25.1 x 18.7 cm ( 9 % x 7 /s in.) 3
I M A G E : 14.9 x 10.5 cm ( 5 % x 4KB in.)
Platinum print
S E C O N D M O U N T : 52.1 x 32.4 cm F I R S T M O U N T : 17.5 x 12.1 cm ( 6 % x 4% in
I M A G E : 7.9 x 11.3 cm ( 3 V 8 x 4 ^ 6 in.)
(20/2 x 12% in.) S E C O N D M O U N T : 32.4 x 26.2 cm
M O U N T : 22.9 x 16.3 cm (9 x 6 /s in.) 3

Los Angeles, J . Paul Getty Museum (12% x io /ie in.)

5

L o s Angeles, J . Paul Getty Museum

84.XM.444.55 Los Angeles, J . Paul Getty Museum
84.XM.444.52
84.XM.444.38

153
 PLATE LIST

PLATE 65 PLATE 70 PLATE 75

[Wells Cathedral:] South Nave Aisle to West, R h e i m s C a t h e d r a l : West F r o n t ( P r e - W a r ) , Bourges Cathedral: Judgment Panel,
ca. 1903 negative, 1899; print, 1915 West F r o n t , 1899
Platinum print Platinum print Platinum print
I M A G E : 20 x 13 cm (7% x 5 / 8 in.) I M A G E : 24.8 x 24.1 cm (9% x 9V2 in.) I M A G E : 18.6 x 28.5 cm (7^16 x 11 !4 in.)
M O U N T : 42.1 x 32.4 cm (16^10 x 12% in.) F I R S T M O U N T : 34.4 x 31 cm { v $ / \ 6 x 12%
9
in.) F I R S T M O U N T : 26.4 x 35 cm (io /s x 13%
3
in.)
Philadelphia Museum of Art 1973-197-14 S E C O N D M O U N T : 50.3 x 35.6 cm S E C O N D M O U N T : 27.3 x 50.7 cm
(i9 /ie x 14 in.)
13
(10% x i 9 / i 6 in.) 1 5

PLATE 66
Los Angeles, J . Paul Getty Museum Los Angeles, J . Paul Getty Museum
Wells C a t h e d r a l : S t a i r s a n d E n t r a n c e
84.XM.444.32 84.XP.219.6
t o C h a p t e r H o u s e , 1900
Platinum print PLATE 71 PLATE 76
I M A G E : 19.8 x 14.8 cm ( j / i 6 x 5 / I G in.)
1 3 1 3
Angel, C h o i r Chapel, R h e i m s Cathedral, B o u r g e s C a t h e d r a l , 1900
* M O U N T : 43.8 x 31.7 cm (17% x 12 V2 in.) ca. 1900 Platinum print
Bradford, England, R P S Collection at the Platinum print I M A G E : 12.4 x 8.6 cm (4% x 3 % in.)
National Media Museum/ssPL RPS 5011/1 I M A G E : 25.4 x 16.5 cm (10 x 6V2 in.) M O U N T : 14.9 x 10.2 cm ( 5 % x 4 in.)
M O U N T : 43.3 x 33.2 cm (17Me x 13 Vie in.) Los Angeles County Museum of Art
PLATE 67
Los Angeles, J . Paul Getty Museum M.2008.40.731
"A Sea of S t e p s " — S t a i r s t o t h e C h a p t e r
89.XM.64
H o u s e , W e l l s C a t h e d r a l , 1903 PLATE 77
Platinum print Height a n d L i g h t i nBourges Cathedral,
I M A G E : 24 x 19 cm ( g V i e x 7/2 in.) Bourges Cathedral 1900
* M O U N T : 30 x 24.4 cm ( n / i 6 x 9% 1 3
in.) Platinum print
Bourges Cathedral, dedicated to Saint Stephen,
Bradford, England, R P S Collection at the I M A G E : 11.9 x 7.1 cm ( 4 / I G x 2% h
in.)
was begun in 1195 and completed in 1270.
National Media Museum/ssPL RPS 5012/1 F I R S T M O U N T : 20.6 X 12-3 C m
Located in Bourges, France, the cathedral
(8 /8X
1
4
1 3
/i in.)
G
PLATE 68 is in the style of High Gothic and features
S E C O N D M O U N T : 32.6 x 26 cm
W e l l s C a t h e d r a l : C a n o p y of A l t a r i n B i s h o p two distinct horseshoe aisles that enclose the
(i2 /ie x 10/4 in.)
13

S u g a i ^ s C h a n t r y , 1903 central nave.

Montreal, Collection Centre Canadien
Gelatin silver print
PLATE 72 dArchitecture / Canadian Centre for
I M A G E : 16.7 x 21.7 cm ( 6 / I G X 8 / i 6 in.)
9 9

[ B o u r g e s C a t h e d r a l : View of M a i n F a c a d e Architecture PHi98o:ii70

O V E R M A T : 24.8 x 37 cm (9% x 1 4 / I G in.) 9

f r o m t h e S t r e e t ] , ca. 1900
M A T : 32.4 x 45.2 cm (12% x i 7 / i e in.) 13
PLATE 78
Platinum print
L o s Angeles, J . Paul Getty Museum B o u r g e s C a t h e d r a l A i s l e a n d N a v e , 1900
I M A G E : 11.6 x 7.2 cm (4 /ie x 2 /ie in.)
9 13

84.XP.219.5 Platinum print

F I R S T M O U N T : 14.1 x 8.9 cm (5 /ie x 3/2 9
in.)
I M A G E : 29 x 23 cm ( n 7 i 6 x Q V W in.)
S E C O N D M O U N T : 32.2 X 25.9 C m
Bradford, England, R P S Collection at the
Rheims Cathedral ( i 2 / i 6 x i o / i e in.)
n 3

National Media Museum/ssPL RPS 4363

Montreal, Collection Centre Canadien
T h e Cathedral of Our L a d y of Rheims is
dArchitecture / Canadian Centre for PLATE 79
where the kings of France were once crowned.
Architecture PHI987:0412 [Bourges Cathedral:] T h e D o u b l e Aisles,
Although a sacred site since 496, the present
ca. 1901
Gothic building dates from the end of the PLATE 73
Platinum print
1200s. [ B o u r g e s C a t h e d r a l : ] P o r t a l of West F r o n t ,
I M A G E : 24.8 x 16.5 cm ( 9 % x 6 / 2 in.)
ca. 1901
PLATE 69 M O U N T : 52.1 x 32.4 cm (20/2 x 12% in.)
Platinum print
R h e i m s C a t h e d r a l , negative, 1899; print, 1915 Philadelphia Museum of Art 1973-197-22
I M A G E : 26.7 x 19.1 cm (loVfc x y /2 in.) l

Platinum print
M O U N T : 52.2 x 32.1 cm (20/ ie x i2 /s in.)
/ 5

I M A G E : 19.5 x 19.1 cm ( 7 % x 7V2 in.)

Philadelphia Museum of Art 1973-197-23
M O U N T : 43.1 x 33.3 cm (16 /w x 13 Vs in.) 15

Montreal, Collection Centre Canadien PLATE 74

dArchitecture / Canadian Centre for Bourges Cathedral, France: Sculpture o n
Architecture PHK)75:0003 West F r o n t — N o a h a n d t h e A r k , 1899
Platinum print
I M A G E : 20 x 27.2 cm (7% x 10% in.)
M O U N T : 32.1 x 42.1 cm (12% x i 6 / i 6 9
in.)
Los Angeles, J . Paul Getty Museum
84.XM.444.5

154
 PLATE LIST

Winchester Cathedral York Minster PLATE 89

[York Minster,] N o r t h Transept: The Five

Winchester Cathedral, dedicated to the Holy T h e Gothic structure of the Cathedral and S i s t e r s , 1902
Trinity and Saints Peter, Paul, and Swithun, Metropolitan Church of Saint Peter is Platinum print
was begun in 1079 a n
d completed in 1093. located in York, England. Built between 1215 I M A G E : 20.8 x 15.6 cm ( 8 / I G x 6 in.)
3

Located in Winchester, in southeastern and 1472, the cathedral is one of the largest M O U N T : 52.4 x 32.4 cm (20% x 12% in.)
England, the building is noted for its exquisite of its kind in northern Europe. Philadelphia Museum of Art 1968-220-29
Gothic nave, which, with its ribbed vaulting,
PLATE 84
is one of the longest in Europe.
[York M i n s t e r : ] E n t r a n c e to C h a p t e r Rouen Cathedral
PLATE 80 H o u s e , 1901
Our Lady of Rouen was built between 1202 and
Winchester [Cathedral:] The Nave, W., Platinum print
1876 in the styles of Gothic and Romanesque
ca. 1885 I M A G E : 19.7 x 13.1 cm (7% x 5 /ie in.) 3

architecture. Located in the city of Rouen,

Glass lantern slide * M O U N T : 21.3 x 12.2 cm ( 8 % x 4 / I G in.) 1 3

in northwestern France, the cathedral was

I M A G E : 7.3 x 6.8 cm (2% x 2 / I G in.) u
Bradford, England, R P S Collection at the
allegedly the tallest building in the world from
P L A T E : 8.3 x 8.3 cm (3M x 3M in.) National Media Museum/ssPL RPS 4370
1876 to 1880.
Los Angeles, J . Paul Getty Museum
PLATE 85
84.XH.1616.2 PLATE 90
[York M i n s t e r : ] A Peek i n t o t h e C h a p t e r
R o u e n C a t h e d r a l , 1899-1905
PLATE 81 H o u s e , ca. 1904
Platinum print
Winchester [Cathedral] Nave: Details Platinum print
I M A G E : 24.9 x 17 cm ( 9 / I G X 6 A G in.)
, 3 u

[of] I r o n G r i l l e , 1900 I M A G E : 27.5 x 6.1 cm (io /ie x 2% in.) 13

M O U N T : 42.8 x 40.2 cm (16% x I 5 / i 6 in.)

13

Glass lantern slide M O U N T : 44 x 18.2 cm (i7 /ie x 7 in.) 15

Montreal, Collection Centre Canadien

I M A G E : 6.2 x 4.8 cm (2 /m x 1%? 7
in.) Rochester, New York, George Eastman House
dArchitecture / Canadian Centre
P L A T E : 8.3 x 8.3 cm (3M x 3% in.) International Museum of Photography and
for Architecture PHi977:0056:00i
Los Angeles, J . Paul Getty Museum F i l m 81:1198:36
84.XH.1616.20
PLATE 86
Aries Cloisters
PLATE 82 [York M i n s t e r : D e t a i b of S c u l p t u r a l
W i n c h e s t e r [ C a t h e d r a l : ] D e t a i l s of D e c o r a t i o n , ] C h a p t e r H o u s e , ca. 1902 T h e Saint Trophime Cloisters at Aries, France,
N a v e R o o f a n d C l e r e s t o r y , 1900 Platinum print date from the twelfth century in its north and
Glass lantern slide I M A G E : 12.7 x 19 cm (5 x 7V2 in.) east wings and from the fourteenth century
I M A G E : 6.2 x 5.6 cm ( 2 % G x 2 /ie in.) 3
M O U N T : 32.4 x 26 cm (12% x \o A l
in.) in its south and western parts. T h e building
P L A T E : 8.3 x 8.3 cm (3M x 3M in.) Montreal, Collection Centre Canadien features stone pillars that alternate with pairs
Los Angeles, J . Paul Getty Museum dArchitecture / Canadian Centre of columns, the capitals of which are decorated
84. X H . 1616.21 for Architecture PHK)76:0044:020 with carved figures in both Romanesque and
Gothic styles.
PLATE 83 PLATE 87

W i n c h e s t e r C a t h e d r a l : A l t a r , 1900 [York M i n s t e r : D e t a i l s of S c u l p t u r a l PLATE 91

Platinum print D e c o r a t i o n , ] C h a p t e r H o u s e , ca. 1902 A r i e s C l o i s t e r s , ca. 1906-7

I M A G E : 24 x 20 cm ( g / w x 7% in.)
7
M O U N T : 49.4 x 37.7 cm (igVie
Rochester, New York, George Eastman House
International Museum of Photography and
F i l m 81:1198:60
Platinum print Platinum print
x 1 4 / I G in.)
13
I M A G E : 9.1 x 4.1 cm (3/46 x 1% in.) I M A G E : 15.9 x 12 cm (6!4 x 4% in.)
M O U N T : 32.4 x 26 cm (12% x 10 K in.) M O U N T : 38.4 x 27.9 cm (15V* x 11 in.)
Montreal, Collection Centre Canadien Philadelphia Museum of Art 1968-220-41
dArchitecture / Canadian Centre
for Architecture PHi976:oo44:o63

PLATE 88

"In Sure a n d Certain Hope"—York Minster,

N o r t h Transept: E n t r a n c e to C h a p t e r H o u s e ,
1902
Platinum print
I M A G E : 26.8 x 19 cm ( I O / I G X 7 V 2 in.)
9

M O U N T : 49.6 x 34.9 cm (19 Vi x 13% in.)

Bradford, England, R P S Collection at the
National Media Museum/ssPL RPS 5013/2

155
 PLATE LIST

PLATE 96 PLATE 101

Chartres Cathedral [ Westminster Abbey:] South N a v e Aisle [ W e s t m i n s t e r A b b e y : ] E a s t E n d of S o u t h
Our Lady of Chartres, fifty miles southwest of t o West, 1911 A m b u l a t o r y , Top D e t a i l , 1911
Paris, was built in 1145. It is a classic example Platinum print Platinum print
of French Gothic architecture, and its extensive I M A G E : 24.2 x 15.7 cm ( 9 V 2 x 6 /ie in.) 3
I M A G E : 22.7 x 18.7 cm ( 8 / I G X 7 / S in.)
1 5 3

array of portal sculpture remains intact. F I R S T M O U N T : 26.7 x 17.5 cm (10V2 x 6% in.) F I R S T M O U N T : 25.4 x 20.4 cm (10 x 8 in.)
S E C O N D M O U N T : 52.1 x 32.4 cm S E C O N D M O U N T : 26.7 x 32.4 cm
PLATE 92
(20 Yi x 12% in.) (10 Y2 x 12% in.)
C h a r t r e s C a t h e d r a l : N o r t h P o r c h , ca. 1910
Los Angeles, J . Paul Getty Museum Los Angeles, J . Paul Getty Museum
Platinum print
84.XM.444.13 84.XM.444.6
I M A G E : 24.9 x 19.8 cm ( 9 / I G X 7 / I G in.)
1 3 1 3

M O U N T : 45.5 x 36.5 cm ( 1 7 % X 14% in.) PLATE 97 PLATE 102

Rochester, New York, George Eastman House [Westminster Abbey:] F r o m the South [ W e s t m i n s t e r A b b e y , ] C h a p e l of H e n r y VII:
International Museum of Photography and T r a n s e p t , 1911 D e t a i l of B r o n z e T o m b of H e n r y VII, 1911
Film 81:1198:29 Platinum print Platinum print
I M A G E : 24.2 x 18.3 cm ( 9 / 2 x 7 / I G in.) 3
I M A G E : 214 x 18.3 cm ( 8 % x 7 ^ in.)
PLATE 93
F I R S T M O U N T : 26.8 x 19.8 cm F I R S T M O U N T : 24.1 x 19.9 cm ( 9 V 2 x 7% in.)
A P i l l a r of C h a r t r e s , 1906
(IO /IG x 7 /i in.)
9 1 3
S E C O N D M O U N T : 52.1 X 32.5 C m
Platinum print
6

S E C O N D M O U N T : 52.1 x 32.2 cm (20/2 x I 2 / I G in.)

1 3

I M A G E : 25.4 x 11.7 cm (10 x 4 A 5

in.)
(20/2 x i 2 / i 6 in.)
n
Los Angeles, J . Paul Getty Museum
Bradford, England, R P S Collection at the
Los Angeles, J . Paul Getty Museum 84.XM.444.2
National Media Museum/ssPL RPS 4351
84.XM.444.11
PLATE 94
T h e S c u l p t u r e d A i s l e s of C h a r t r e s C a t h e d r a l ,
PLATE 98 Durham Cathedral
[ W e s t m i n s t e r A b b e y : ] Confessor's Chapel,
1908 T h e Cathedral C h u r c h of Christ, Blessed
T o m b of H e n r y I I I , 1911
Platinum print Mary the Virgin, and Saint Cuthbert of
Platinum print
I M A G E : 29.5 x 23.4 cm (11% x 9 /ie in.) 3
Durham was begun in 1093 and completed
I M A G E : 24.5 x 19.5 cm (g /s 5
x y Ae u
in.)
M O U N T : 50 x 37.5 cm ( I 9 / I G X 14% h
in.) in 1133. T h e Romanesque building, located
F I R S T M O U N T : 27.1 x 21.2 cm
Rochester, New York, George Eastman House in northeastern England, is considered
(io /i6x8 /8in.)
n 3

International Museum of Photography and the best example of Norman architecture

S E C O N D M O U N T : 52.I X 32.4 c m
F i l m 81:1198:49 in the country.
(20Y2 x 12% in.)
Los Angeles, J . Paul Getty Museum PLATE 103
Westminster Abbey 84.XM.444.27 D u r h a m C a t h e d r a l f r o m t h e W e a r , 1911
Platinum print
Built around 1050, the Collegiate C h u r c h of PLATE 99
I M A G E : 18.7 x 24.1 cm ( 7 % x §Yi in.)
Saint Peter at Westminster, in London, held the [ W e s t m i n s t e r A b b e y : ] Confessor's Chapel,
M O U N T : 52.1 x 3 2 4 cm (20 M x 12% in.)
status of a cathedral briefly, from 1546 to 1556. S t a i r c a s e o n N o r t h S i d e , 1911
Philadelphia Museum of Art 1973-197-53
Since 1579 it has been a Royal Peculiar, which Platinum print
means that it is under the jurisdiction of the I M A G E : 24.1 x 15.8 cm ( 9 / 2 x614 in.) PLATE 104
sovereign rather than a bishop or diocese. F I R S T M O U N T : 26.7 x 17.4 cm (IOMJ x 6% in.) D u r h a m C a t h e d r a l : F r o m t h e C l o s e , 1912
It continues today as the site for coronations S E C O N D M O U N T : 52.1 x 32.4 cm Platinum print
and burials of the British monarchs. (20/2 x 12% in.) I M A G E : 23.9 x 19.1 cm ( 9 V i e x 7>4 in.) !

Los Angeles, J . Paul Getty Museum F I R S T M O U N T : 35.9 x 24.6 cm

PLATE 95
84.XM.444.24 (14/8 x 9 / i 6 in.)
n

[ W e s t m i n s t e r A b b e y , ] C h a p e l of H e n r y VII:
S E C O N D M O U N T : 51 x 37.4 cm
R o o f of F a n T r a c e r y V a u l t i n g , 1911 PLATE 100
(20 Me x 14% in.)
Platinum print [ W e s t m i n s t e r A b b e y : ] Confessor's Chapel,
Rochester, New York, George Eastman House
I M A G E : 21.7 x 18.7 cm ( 8 / I G X 7 / S in.)
9 3
C o r o n a t i o n C h a i r w i t h Stone of Scone, 1911
International Museum of Photography and
F I R S T M O U N T : 24.4 x
20.4 cm ( 9 % x 8 in.) Platinum print
Film 81:1198:0045
S E C O N D M O U N T : 33.3 x 30.3 cm I M A G E : 24.4 x 19.4 cm (g /s 5
x y / 5
8 in.)
(13 Ys x n 1 5
/i6 in.) F I R S T M O U N T : 27 x 21 cm ( i 0 / s x814 5
in.)
L o s Angeles, J . Paul Getty Museum S E C O N D M O U N T : 52.1 x 32.4 cm
84.XM.444.36 (20 V2 x 12% in.)
L o s Angeles, J . Paul Getty Museum
84.XM.444.20

156
 PLATE LIST

PLATE 1 0 5 PLATE 111 PLATE 117

D u r h a m C a t h e d r a l , 1912 G e o r g e B e r n a r d Shaw, 1902 P h y l l i s H a t t o n , ca. 1900
Platinum print Gelatin silver print Platinum print
I M A G E : 12.1 x 9.5 cm ( 4 / I G x 3% in.)
1 3
I M A G E : 23.7 x 8.9 cm (9 /IG x 3 / 2 in.)
5
I M A G E : 20 x 14.1 cm (7% x 5 / I G in.)9

M O U N T : 32.4 x 26.2 cm (12% x I O / I G in.) 5

F I R S T M O U N T : 31 x 23 cm ( I 2 / I G x g ' / i G in.)
3
MOUNT: 40.8 x 26.8 (16V16 x I O / I G in.) 9

Los Angeles, J . Paul Getty Museum S E C O N D M O U N T : 32.5 X 2 5 7 c m

Los Angeles, J . Paul Getty Museum
84.XM.444.39 ( I 2 / I G x 10 Vs in.)
1 3
84.XM.444.69
Los Angeles, J . Paul Getty Museum
PLATE 1 0 6 PLATE 118
84.XM.444.76
D u r h a m C a t h e d r a l , ca. 1911 " G e o r g e E g e r t o n , " ca. 1900
Gelatin silver print PLATE 112 Platinum print
I M A G E : 12.1 x 9 cm (4% x 3 /ie in.) 9
A u b r e y B e a r d s l e y , 1894 I M A G E : 16.7 x 11.1 cm (6 /w x 4 /s in.)
D 3

M O U N T : 31.8 x 26.4 cm (12 V2 x io /s in.) 3

Photogravure F I R S T M O U N T : 21-3 x 14.6 cm ( 8 % x 5% in.)
Philadelphia Museum of Art 1973-197-50 I M A G E : 13 x 9.6 cm {^Vs x 3% in.) S E C O N D M O U N T : 32.4 x 25.9 cm
* M O U N T : 40.7 x 25.3 cm (16 x 9 / I G in.) 1 5
(12% x I O / I G in.)
3

PLATE 107
Bradford, England, R P S Collection at Los Angeles, J . Paul Getty Museum
A c r o s s t h e N a v e of D u r h a m [Cathedral],
the National Media Museum/ssPL RPS 84.XM.444.78
ca. 1912
Platinum print 2003-5001_2_22275 PLATE 119
I M A G E : 24.7 x 12.7 cm ( 9 % x 5 in.) D o r a C u r t i s , ca. 1895-1900
PLATE 113
M O U N T : 49 x 30.6 cm {IQVIG X 12 in.) Platinum print
A r t h u r Symons, ca. 1895-1900
Bradford, England, R P S Collection at the I M A G E : 18.7 x 13 cm (7 /s x 5% in.)
3

Platinum print
National Media M u s e u m / s s P L RPS 8023 F I R S T M O U N T : 25.5 x 17.3 cm (10 x 6 / I G in.) 1 3

I M A G E : 19.1 x 13.3 cm ( 7 V 2 x 5M in.)

S E C O N D M O U N T : 52.1 x 32.2 cm
PLATE 1 0 8 M O U N T : 34 x 22.2 cm (i3 /s x 8% in.) 3

(20/2 x i 2 / i c in.)u

G a l i l e e C h a p e l [ : Bede's Tomb, Durham Los Angeles, J . Paul Getty Museum

Los Angeles, J . Paul Getty Museum
C a t h e d r a l ] , ca. 1911 84.XM.444.62
84.XM.444.9
Platinum print PLATE 114
I M A G E : 24.4 x 19.7 cm (9 /s x 7% in.) 5
[F. H o l l a n d D a y ] I n A r a b C o s t u m e , 1901 PLATE 120
M O U N T : 49.5 x 34.3 cm (19/2 x 13/2 in.) Platinum print M r s . F r e d e r i c k E v a n s , ca. 1900
Philadelphia Museum of Art 1968-220-39 I M A G E : 19.1 x 36.2 cm ( 7 V 2 x 14M in.) Platinum print
M O U N T : 24.1 x 45.7 cm ( 9 / 2 x 18 in.) I M A G E : 17.6 x 13.4 cm ( 6 % X 5M in.)
Philadelphia Museum of Art 1968-220-12
Portraits F I R S T M O U N T : 21.9 x 18.6 cm ( 8 % x 7^10 in.)
S E C O N D M O U N T : 32.3 x 25.3 cm
PLATE 115
PLATE 1 0 9 (12% x 9 / I G in.)
1 5

A l v i n L a n g d o n C o b u r n , ca. 1900
D r . J o h n T o d h u n t e r , 1890 Los Angeles, J . Paul Getty Museum
Platinum print
Platinum print 84.XM.444.58
I M A G E : 19.3 x 14.5 cm (7 /s x 5 / i 6 in.)
5 n

I M A G E : 23 x 17.6 cm (9Me x 6 / I G in.) 1 5

F I R S T M O U N T : 21.5 x 15.9 cm
M O U N T : 34.9 x 26.2 cm (13% x I O / I G in.) 5

(syiGxe^in.)
L o s Angeles, J . Paul Getty Museum
S E C O N D M O U N T : 39.9 x 27.9 cm
84.XM.444.71
( i 5 / i 6 x 11 in.)
n

PLATE 110 Bradford, England, R P S Collection at the

Hubert Bland (Fabian S[ociety]), National Media Museum/ssPL RPS 5004
ca. 1895-1900
PLATE 116
Platinum print
H . J e r o m e P o l l i t t , ca. 1894
I M A G E : 20 x 14.7 cm (7% x 5% in.)
Platinum print
M O U N T : 40.7 x 27 cm (16 x 10% in.)
I M A G E : 14.3 x 11.1 cm (5 /s x 4 / in.)
5 3

L o s Angeles, J . Paul Getty Museum

8

M O U N T : 41.2 x 26.9 cm (16V1 x I O / I G in.) 9

84.XM.444.59
Los Angeles, J . Paul Getty Museum
84.XM.444.65

157
 A

N O T E : Page numbers in i t a l i c s refer to illustrations.

A c r o s s t h e N a v e of D u r h a m C a t h e d r a l Brotherhood of the Linked Ring: demise of, D r . J o h n T o d h u n t e r (Evans), 138

(Evans), 1 3 6 27-28; Evans's name in, 19; Photographic D o r a C u r t i s (Evans), 1 4 8
Adamson, Robert, 4,7 Society and, 5; salon of, 7,19; satire of, 19 double-coated plates, 3,16
Aestheticism, 23 Dowdeswell's Gallery, 27
A l v i n L a n g d o n C o b u r n (Evans), 144 C a m e r a C l u b I n v i t a t i o n E x h i b i t i o n , 19 Downes &. Co.: S t a i r s L e a d i n g t o C h a p t e r
A m a t e u r P h o t o g r a p h e r , T h e (journal), 5,27 C a m e r a W o r k (journal), 5,23 House, 16,16
Andrew Smith Gallery, 17ns Cameron, Julia Margaret, 4; H e n r y T a y l o r , 4 Dudley Gallery, 25
A n g e l , C h o i r C h a p e l , Rheims Cathedral Canterbury Cathedral, 12-13 D u r h a m C a t h e d r a l (Evans), 1 3 4 , 1 3 5
(Evans), 101 C a n t e r b u r y C a t h e d r a l (Evans), 10 D u r h a m C a t h e d r a l : F r o m t h e C l o s e (Evans), 133
Annan, James Craig, 7,26,28 C a n t e r b u r y C a t h e d r a l A l b u m (Evans), 12,17n8 D u r h a m C a t h e d r a l f r o m t h e W e a r (Evans), 132
A r i e s C l o i s t e r s (Evans), 119 cathedral(s): contextual view of, 12; Evans on,
A r t h u r Symons (Evans), 142 11,12; Evans's photographs of, 12-13; studies E a s t E n d : V i e w of t h e E a s t F a c a d e of E l y
Arts and Crafts Movement, 5,23 of, 11 C a t h e d r a l (Evans), 7 6
A t C h a n t i l l y (Evans), 4 6 C e n t r a l D o o r w a y , West P o r c h , L i c h f i e l d Eastman International Exhibition, 2 5 , 2 5 , 2gn30
A u b r e y B e a r d s l e y (Evans), 141 C a t h e d r a l (Fenton), 13 Egerton, George, 147
A v i g n o n , P a l a i s des Rapes (Evans), 4 4 C h a r t r e s C a t h e d r a l : N o r t h P o r c h (Evans), 121 E l y , G a l i l e e P o r c h (Evans), 12
C h a t e a u C h e v e n o n (Evans),50 E l y C a t h e d r a l (Evans), 7 9
Beardsley, Aubrey, 3, gnio, 19,141; G r o t e s q u e s , C h a t e a u G a i l l a r d (Evans), 4 0 E l y C a t h e d r a l : B i s h o p A l c o c k ' s C h a p e l (Evans),
8,5 Coburn, Alvin Langdon, 8,144; P o r t r a i t of 82
Blake, William: V i r g i l , 8 Frederick H . Evans, x i i E l y C a t h e d r a l : C h a p e l of B i s h o p West, South
Bland, Hubert, 3, 139 color: of prints, 21, of walls, 26-27 C h o i r A i s l e (Evans), 83
book design, 21 control process, 5 E l y C a t h e d r a l : D e t a i l s of a N o r m a n D o o r A r c h
Bourges Cathedral, 2 2 C o u n t r y L i f e (magazine), 7,16 (Evans), 8 4
B o u r g e s C a t h e d r a l (Evans), 1 0 6 C r a f t s m a n , T h e , A Series of A r t i s t i c f l e x i b l e Ely Cathedral: Gargoyle i n Nave Triforium
B o u r g e s C a t h e d r a l : T h e D o u b l e A i s l e s (Evans), p a s t e - o n m o u n t s , 23,24 (Evans), 8 5
109 C r y p t of C a n t e r b u r y C a t h e d r a l (Evans), §3 E l y C a t h e d r a l : A M e m o r y of t h e N o r m a n s S. W.
B o u r g e s C a t h e d r a l , F r a n c e : S c u l p t u r e o n West Cundall, Joseph: S t a i r s L e a d i n g t o C h a p t e r T r a n s e p t t o N a v e (Evans), 8 0
F r o n t — N o a h a n d t h e A r k (Evans), 104 House, 16,16 Ely Cathedral: N o r t h Side, N o r t h Transept
B o u r g e s C a t h e d r a l : J u d g m e n t P a n e l , West Front Curtis, Dora, 1 4 8 (Evans), 81
(Evans), 105 E l y C a t h e d r a l : O c t a g o n a n d N a v e (Evans), 7 8
B o u r g e s C a t h e d r a l : P o r t a l of West Front Dallmeyer-Bergheim lens, 3-4 E l y C a t h e d r a l f r o m t h e B i s h o p ' s G r e e n (Evans),
(Evans), 1 0 3 D a n c e of D e a t h (Holbein), 8 77
B o u r g e s C a t h e d r a l : V i e w of t h e M a i n F a c a d e Davison, George, 23,27,29n30 Emanuel, Charles, 9
f r o m t h e Street (Evans), 1 0 2 Day, Fred Holland, 7,23,28,143 Emerson, P. H . , 3
B o u r g e s C a t h e d r a l A i s l e a n d N a v e (Evans), D e a n of E l y , T h e (Evans), 4, 5 English Glacier, A n : Near S u m m i t ofScafell
107 Demachy, Robert, 20,28 (Evans), 3 9
Dent, J . M.,9nio Evans, Barbara, 7

158
 INDEX

Evans, Evan, 6, 7 H e i g h t a n d L i g h t i n Bourges C a t h e d r a l (Evans), lenses: Dallmeyer-Bergheim, 3-4;

Evans, Frederick H . : as bookseller, 3; on 22,106 Evans on,gn2
Cameron, 4; on cathedrals, 11,12; children H e n r y T a y l o r (Cameron), 4 Lichfield Cathedral, 13, 14
of, 6, 7; at C o u n t r y L i f e magazine, 7; death Herstmonceux C a s t l e , Sussex: Steps to the U p p e r L i f e a n d Landscape on the N o r f o l k Broads
of, 8,17; Emanuel on, 9; first images by, 1; G a r d e n (Evans), 41 (Goodall),3
health of, 1; Horsley Hinton on, 14; as journal H i l l , David Octavius, 4,7 L i n c o l n C a t h e d r a l (Evans), 75
contributor, 5,7; on lenses, gn2; marriage of, Holbein, Hans, 8 L i n c o l n C a t h e d r a l : The Angel C h o i r (Evans), 73
7; on photographic record, 12; on photog­ H o o d , P H . : P o r t r a i t of F r e d e r i c k H Evans, Q L i n c o l n C a t h e d r a l : Nave to East (Evans), 72
raphy, 5; portraits of, x i i , g ; on presentation, Horsley Hinton, Alfred, 14, 27 L i n c o l n C a t h e d r a l : O r g a n Screen, North Side
23-25; in Royal Photographic Society, 8-9; H u b e r t B l a n d ( F a b i a n Society) (Evans), 13Q (Evans), 74
on steps of Wells Cathedral, 16; Stieglitz on, L i n c o l n C a t h e d r a l : Stairs i n S. W. T u r r e t
7; Storey on, 28; on Turner, 13; wife of, 6, 7, Impressionist photography, 20 (Evans), 71
149 I n D e e r l e a p Woods (Evans), 34 L i n c o l n C a t h e d r a l f r o m the Castle (Evans), 6g
Evans, Geoffrey, 7 I n g o l d m e l l s (Evans), 42 Linked Ring. See Brotherhood of the Linked
I n Redlands Woods (Evans),55 Ring
F . H o l l a n d Day I n A r a b Costume (Evans), 143 I n s t a l l a t i o n P h o t o g r a p h , The P h o t o g r a p h i c Little Galleries of the Photo-Secession
Fabian Society, 3 Salon (unknown), 26 ("291"), 7
F a c s i m i l e of Aubrey Beardsley Drawing I n s t a l l a t i o n Views, Eastman International Longhurst, Ada Emily, 6, 7 , 1 4 g
(Evans), 8 Amateur P h o t o g r a p h i c E x h i b i t i o n , The New
Fenton, Roger, 3,13-14,16; C e n t r a l D o o r w a y , G a l l e r y , L o n d o n (unknown), 25 margins, 21
West P o r c h , L i c h f i e l d C a t h e d r a l , 13 " I n Sure a n dCertain Hope"—York Minster, Maskell, Alfred, 20,27; Landscape, 20
Foxgloves (Evans), 33 N o r t h Transept: E n t r a n c e to Chapter House "Misty M o r n i n g , A " — C a n t e r b u r y Cathedral:
Frith, Francis, 14 (Evans), 116 Angel Tower a n d D a r k E n t r y (Evans), 52
I n t e r i o r of G a l i l e e P o r c h , E l y C a t h e d r a l monogram, 21,23
G a l i l e e Chapel: Bede's Tomb, Durham (Turner), 12 M o n t St. M i c h e l : C l o i s t e r s (Evans), 4 7
C a t h e d r a l (Evans), 157 I n t e r i o r of St. B a v o , H a r l e m , The (Saenredam), Morris, William, 5; News f r o m N o w h e r e , 5,17ni6
George B e r n a r d Shaw (Evans), 140 15 Mortimer, F . J . , 2 7
"George E g e r t o n " (Evans), 147 mounting, 21,23
George V, K i n g of England, 7 Japanese Tsuba, S w o r d G u a r d (Evans), 21,21 Moyen Age, Le (Evans), 7,27
glass lantern slides, 3 , 9 n 5 , 1 0 japonisme, 21,21 M r s . F r e d e r i c k Evans (Evans), 14Q
Gloucester: Tomb of E d w a r d II(Evans), 54 Johnston, J o h n Dudley, 27
Gloucester Cathedral, 13 negatives: manipulation of, 5; in straight
Gloucester C a t h e d r a l (Evans),58 Kelmscott Manor, 5,14-15 photography, 5
Gloucester C a t h e d r a l : The C l o i s t e r s (Evans), 56 Kelmscott M a n o r : F r o m the G a r d e n (Evans), 60 New F o r e s t (Evans), 36
Gloucester C a t h e d r a l : E n t r a n c e to A m b u l a t o r y Kelmscott M a n o r : F r o m the Thames (Evans), §g News f r o m Nowhere (Morris), 5
a n d C r y p t (Evans), 5 5 Kelmscott M a n o r : I n the A t t i c s ( N o . 1) (Evans), N o r t h A i s l e , to East (Evans), 10
Gloucester C a t h e d r a l : Nave to the East (Evans), 15,^5
57 Kelmscott M a n o r : I n the A t t i c s ( N o . 2 ) (Evans), O n the Road to W a t e n d l a t h : B o r r o w d a l e
Gloucester C a t h e d r a l : South T r i f o r i u m to East 66 (Evans), 38
(Evans), 5 5 Kelmscott M a n o r : I n the G a r d e n (Evans), 61
Goodall,TF.,3 Kelmscott M a n o r : I n the Tapestry Room (Evans), papers, in mounting, 23
Goold, Joseph, 11 62 Pendulum C u r v e (Evans), 10, 11
G r e a t Cokkeswell Bam (near Kelmscott) Kelmscott M a n o r : T h r o u g h a Window i n the Photo-Club de Paris, 19
(Evans), 68 Tapestry Room (Evans), 64 P h o t o g r a p h i c P i c t u r e s of Westminster Abbey
G r e a t Cokkeswell B a r n (near Kelmscott): Kelmscott Manor: William Morris 9
Bedroom (exhibition), 7
I n t e r i o r (Evans), 6 7 (Evans), 63 Photographic Salon, 25-27,26
Grosvenor Gallery, 23 King George V of England, 7 Photographic Society, 1,5,28n2. See also Royal
Grotesques (Beardsley), 8 , 8 Photographic Society
gum bichromate prints, 4, 5,20 Lake District, 1,3 photography: Impressionist, 20; straight, 5,20
Lambert, E C , 27 P h o t o g r a p h y (journal), 5,27
H . Jerome P o l l i t t (Evans), 145 Landscape (Maskell), 20 "photo-micrographs," 1,2
hanging of pictures, 26 landscapes, 3 Photo-Secession of New York, 19,27
harmonograph, 11 Landscape w i t h Ruins (Robert), 24 P h y l l i s H a t t o n (Evans), 146
Hatton, Phyllis, 146 lantern slides, 3, gn5,10 pianola, 3,9ng
H a w t h o r n a n d B l a c k b e r r y (Evans), 32 layered mounts, 23 P i l l a r of C h a r t r e s , A (Evans), 122
layout, 21 plates, double-coated, 3

159
 Lndex

platinotype paper, 3 Spencer A r t Museum, gn5 Westminster Abbey, C h a p e l of H e n r y VII: D e t a i l

platinum prints, 8,20-21 Spine of E c h i n u s (Evans), 2,10 of B r o n z e Tomb of H e n r y VII (Evans), 131
Pollitt, H.Jerome, 145 S t a i r s L e a d i n g t o C h a p t e r House (Cundall and Westminster Abbey, C h a p e l of H e n r y VII: R o o f of
P o r t r a i t of F r e d e r i c k H . Evans (Coburn), x i i Downes & C o . ) , 1 6 , 1 6 F a n T r a c e r y V a u l t i n g (Evans), 1 2 4
P o r t r a i t of F r e d e r i c k H . Evans (Hood), g steps, of Wells Cathedral, 16, gy Whistler, James McNeill, 21; Society of B r i t i s h
P o r t r a i t of G e o r g e A d o l p h u s Storey (Evans), 18 Stieglitz, Alfred, 7,23,28 A r t i s t s , e x h i b i t i o n view, Suffolk Street, 25,25
P o r t r a i t of M r s . F r e d e r i c k H . Evans and Her Stones of V e n i c e , The (Ruskin), 14 Wilson, George Washington, 14; York Minster:
Son E v a n Evans (Evans), 6 Storey, George Adolphus, 18, 19,28 The F i v e Sisters, 15
P r a c t i c a l P h o t o g r a p h e r , The (journal), 27 straight photography, 5,20 W i n c h e l s e a : S t a i r s t o Queen Elizabeths Well
presentation, 20-25 Stubbs, Charles, 5 (Evans), 45
prints, 20-25 Swedenborg, Emanuel, 11,17ns Winchester C a t h e d r a l : A l t a r (Evans), 111
P r o v i n s , F r a n c e (Evans), 4Q Symons, Arthur, 3 , 1 4 2 Winchester C a t h e d r a l : D e t a i l s of Nave Roof and
P r o v i n s (Evans),51 C l e r e s t o r y (Evans), no
Todhunter,John,3,19 Winchester C a t h e d r a l : The Nave, W. (Evans),
Redlands Woods, 14 Turner, Joseph Mallord, 13; I n t e r i o r of G a l i l e e 110
Reflets dans Veau (Evans), 8,57 P o r c h , E l y C a t h e d r a l , 12 Winchester C a t h e d r a l Nave: D e t a i l s of I r o n
Rheims C a t h e d r a l (Evans), QQ twin-elliptic harmonograph, 11 G r i l l e (Evans), no
Rheims C a t h e d r a l : West F r o n t ( P r e - W a r ) "291" (art gallery), 7
(Evans), 100 York Minster, 14,15
Robert, Hubert: Landscape w i t h Ruins, 24 University of Nottingham, gn5 York M i n s t e r : A Peek i n t o the C h a p t e r House
Robinson, H . P., 26 (Evans), 113
Roofs: V i e w of the B e l l T o w e r of L i n c o l n velaria, 25 York M i n s t e r : D e t a i l s of S c u l p t u r a l D e c o r a t i o n ,
C a t h e d r a l (Evans), 70 vertical format, 21 C h a p t e r House (Evans), 1 1 4 , 1 1 5
Rossetti, Dante Gabriel, 5 V i r g i l (Blake), 8 York M i n s t e r : E n t r a n c e t o C h a p t e r House
Rouen C a t h e d r a l (Evans), 118 (Evans), 112
Royal Photographic Society ( R P S ) , 8-9,28n2. wall color, 26-27 York M i n s t e r : The F i v e Sisters (Wilson), 1 5
See a l s o Photographic Society Walton, George, 25,26,27,2gn30 York M i n s t e r , N o r t h Transept: The F i v e Sisters
Royal Society of Painters in Water Colours, 26 Watson-Schiitze, E v a , 21,23 (Evans), 117
Ruskin, J o h n : Stones of V e n i c e , 14 W e l l s C a t h e d r a l , 15-16
Rye: f r o m W i n c h e l s e a (Evans), 43 W e l l s C a t h e d r a l (Evans), go
W e l l s C a t h e d r a l : Across West E n d of Nave
Saenredam, Pieter Jansz., 14; I n t e r i o r of (Evans), g$
St. B a v o , H a r l e m , The, 15 W e l l s C a t h e d r a l : Canopy of A l t a r i n B i s h o p
Salon of the Linked Ring, 7 Sugar's C h a n t r y (Evans), g8
Sciopticon Company, 1 W e l l s C a t h e d r a l : Nave L o o k i n g West (Evans), g2
S c u l p t u r e d Aisles o f C h a r t r e s C a t h e d r a l , The W e l l s C a t h e d r a l : N . W. T o w e r a n d N o r t h P o r c h
(Evans), 123 (Evans), g i
"Sea of Steps, A " — S t a i r s t o the C h a p t e r House, W e l l s C a t h e d r a l : South Nave A i s l e t o West
W e l l s C a t h e d r a l (Evans), 15, gy (Evans), g4
Shaw, George Bernard, 1 , 3 , 1 4 0 Wells C a t h e d r a l : S t a i r s a n d E n t r a n c e t o
signature, 21 C h a p t e r House (Evans), # 5
slides, glass-lantern, 3, gn5,10 Westminster Abbey, 7,16
Smith, George, 1 Westminster Abbey: Confessor's Chapel,
Society of B r i t i s h A r t i s t s , E x h i b i t i o n V i e w , C o r o n a t i o n C h a i r w i t h Stone of Scone
Suffolk Street (Whistler), 25,25 (Evans), i2g
S o u t h w e l l C a t h e d r a l , C h a p t e r House Capital Westminster Abbey: Confessor's Chapel,
(Evans), 8g S t a i r c a s e on N o r t h Side (Evans), 128
S o u t h w e l l C a t h e d r a l , C h a p t e r House Entrance Westminster Abbey: Confessor's Chapel, Tomb
C a p i t a l (Evans), 8g of H e n r y I I I (Evans), 1 2 7
S o u t h w e l l C a t h e d r a l , C h a p t e r House Entrance Westminster Abbey: East E n d of South
D e t a i l (Evans), 88 A m b u l a t o r y , Top D e t a i l (Evans), 130
S o u t h w e l l C a t h e d r a l , Nave, Norman Capital Westminster Abbey: F r o m the South Transept
(Evans), 8 7 (Evans), 1 2 6
Southwell Cathedral, N o r t h Transept Triforium Westminster Abbey: South Nave A i s l e t o West
(Evans), 8 7 (Evans), 125
S o u t h w e l l — D e t a i l (Evans), 86

160