in Julia Margaret Cameron’s ‘fancy subjects’
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

The conclusion reviews Cameron’s efforts to promote her photographs as ‘works of fine art’, but also in the context of making photographic allegories that were political in nature, and which focused on themes and debates of national identity and empire. As a way of returning full circle to issues of allegorical representation and specific works of art presented in the Introduction, the Conclusion examines Cameron’s representations of the biblical Parable of the Ten Virgins from Matthew, explaining why the photographer made a new photograph of the Parable some ten years after first representing the story, establishing her commitment to photographic allegory as a way to embed moral and political ideas in her imagery.

Julia Margaret Cameron’s ‘fancy subjects’

Photographic allegories of Victorian identity and empire


All Time Past Year Past 30 Days
Abstract Views 10 1 0
Full Text Views 16 0 0
PDF Downloads 7 0 0