Volume I
- 'Orley Farm'. Source: 1981 Dover reprint of 1862 Chapman and Hall
2 volume edition of Orley Farm, frontispiece facing title page;
also reprinted in many other books because it is an actual drawing by
Millais of the Julians Hill farmhouse in which the Trollope family lived
while Trollope was growing up, e.g., Snow, p. 34. Reprinted and
discussed, together with a photograph of the place in Hall, AT and
His Illustrators, pp. 50-54.
J. E. Millais, "Orley Farm"," frontispiece, Orley Farm
- 'Sir Peregrine and His Heir'. Source: 1981 Dover Orley Farm,
facing i, p. 16. Reprinted and discussed Hall, AT and His
Illustrators, pp. 40-41. The eyes are so sad, so
melancholy; whole thing partakes of gravity of idyllic Pre-Raphaelite
style.
J. E. Millais, "Sir Peregrine and His Heir," Orley Farm
- 'There was sorrow in her heart, and deep thought in her mind'. Source:
1981 Dover Orley Farm, facing i, p. 36. Reprinted and discussed Hall, AT and His
Illustrators, pp. 27-29; Moody, Trollope on the Net, Chapter 6. Trollope said he saw more deeply into his text after seeing this drawing:
J. E. Millais, Lady Mason", "There was sorrow in her Heart, and deep Thought in her mind," Orley Farm
- '"There is nothing like iron, Sir; nothing"'. Source: 1981 Dover
Orley Farm, facing i, p. 46. Reprinted and discussed Hall, AT and His
Illustrators, pp. 48-51. Remarkably
alive piece of comedy, though far more merry, more joyous than the
disillusioned spirit of the scene.
J. E. Millais, ""There is Nothing like Iron, Sir, Nothing", Orley Farm
- 'Then they all marched out of the room, each with his own glass'. Source:
1981 Dover Orley Farm, facing i, p. 72. My comment: it's too elegant,
the emphasis is on the luxury of the room's accoutrements and gentlemanliness
of the figures. Well drawn, but not comic enough.
J. E. Millais, "And then they all marched out of the room, each with his own glass," Orley Farm
- 'Mr Furnival's welcome home'. Source: 1981 Dover Orley Farm,
facing i, p. 86. Not successful; wife looks simply irritated;
Mr Furnival looks way too young; faces expressionless.
J. E. Millais, Mr and Mrs Furnival, "Mr Furnival's Welcome Home," Orley Farm>br?
- '"Your son Lucius did say -- shopping?"'. Source: 1981 Dover Orley Farm,
facing i, p. 98. My comment: The timidity and hestitation on the figure
representing Lady Mason is true to the text and effective. Mr. and Mrs
Furnival now look older, worn; Mrs Furnival has something of the compassion
and dignity she displays towards Lady Mason in later scenes when she discovers
there is no liaison. Mr Furnival very good, tired, hair awry. Little
touches good: an umbrella hanging from wall underneath worn hat. Bundle
of letters on floor.
- 'Over their wine'. Source: 1981 Dover Orley Farm, facing i, p.
110. Reprinted and discussed together with accompanying studied Hall,
AT and His Illustrators, pp. 42-44. My comment: successful
depiction of psychological feel in text if you can accept the loss of
detailed work in in the face facing frontwards.
- 'Van Bauhr's Dream'. Source: 1981 Dover Orley Farm, facing i, p.
136. A scene of worn man in reverie; no such scene in text, but superb
depiction of mood which is appropriate to many moments in Trollope's
novels; male analogy to Lady Mason; see Trollope on the Net,
Chapter 6.
John Everett Millais, "Van Bauhr's Dream"
- The English Von Bauhr and his Pupil'. Source: 1981 Dover Orley
Farm, facing i, p. 140. My comment: Another scene which is
expressive of mood and conversations that go
on between Felix Graham and Augustus Staveley without there being an
exacting detailed depiction of just this arrangement of figures in a
landscape in the text.
- 'Christmas at Noningsby -- Morning'. Source: 1981 Dover Orley
Farm, facing i, p. 168. Expressionless faces; probably
intended to suggest withdrawn melancholy poise, comes out as a face in
hauteur.
- 'Christmas at Noningsby -- Evening'. Source: 1981 Dover Orley
Farm, facing i, p. 174. Reprinted and discussed Hall, AT and His
Illustrators, pp. 48-50. My comment: this picture has been reprinted
many times as it is a rare scene for Trollope which includes children
and presents Christmas as a merry, boisterous occasion. The blindfolding
of Judge Staveley has a topsy-turvy effect as he is the Prospero of the
novel.
John Everett Millais, "Christmas at Noningsby -- Evening"
- '"Why should I not"'. Source: 1981 Dover Orley Farm, facing
i, p 200. Reprinted Hall, AT and His Illustrators, p. 45. My comment;
throughout Sir Peregrine is made too young; the pose is too theatrical.
- 'Monkton Grange'. Source: 1981 Dover Orley Farm, facing p.
i, p. 216. Reprinted and discussed Hall, AT and His Illustrators,
frontispiece, pp. 54-55. As this along with Hablôt Browne's depiction of
a hunting scene in Can You Forgive Her? ('Edgehill', see directly
below) constitute one of the two perhaps most frequently-reprinted
of the illustrations to Trollope's illustrations, the impression is
left that the novels are dominated by such scenes; nothing could be
farther from the truth. They constitute interludes; there are in
fact only four illustrations of hunting scenes among the hundreds
of original and early illustrations to Trollope's novels. This is
a later nostalgic emphasis and reading of Trollope's novels; not
his own nor that of his contemporaries. See Trollope on the
Net, Chapter 6. This is not to say that this and Brown's
pictures are not attractive; they are.
John Everett Millais, "Monkton Grange"
- 'Felix Graham in trouble'. Source: 1981 Dover Orley Farm,
facing i, p. 226. My comment: well done picture of one young
man aiding another amidst the bracken of a heath or hill-like landscape. Focus
again on young men; emphasis in pictures creates accompanying story
of young men in trouble.
- 'Footsteps in the corridor'. Source: 1981 Dover Orley Farm,
facing i, p. 241. My comment: depiction of young girl with candle in
corridor as older one comes out of sick room. The face of the older women
is too wrinkled; again melancholy translates into hauteur.
- 'The Angel of Light'. Source: 1981 Dover Orley Farm,
facing i, p. 256. This is a successful depiction of young woman
profoundly absorbed in the reading of a letter; her face is wholly in
shadow yet alive with alertness; the room is detailed, poor yet
respectable. Light wind blows the curtain out. Quality derives
from sense of a real presence in the room.
John Everett Millais, "Angel of Light" (Mary Snow)
- 'Lucius Mason in his Study'. Source: 1981 Dover Orley Farm,
facing i, p. 282. This equally successful depiction of a young
man absorbed by the papers in front of him on his desk is found illustrated
in a number of the novels. Trollope must have liked it. Again the story
is as much Lucius's as Lady Mason's.
John Everett Millais, "Lucius Mason in his Study"
- 'Peregrine's Eloquence'. Source: 1981 Dover Orley Farm,
facing i, p. 288. Reprinted and discussed together with a touched proof
in Hall, AT and His Illustrators, pp. 30-31. Lady
Mason's face looks simply annoyed; otherwise very good. The glaring
light out of young Peregrine's eyes, the hard face is right.
- 'Lady Staveley interrupting her Son and Sophia Furnival'. Source:
1981 Dover Orley Farm, facing i, p. 306 . My comment: curious
sad faces again.
Volume II:
- 'Lady Mason Leaving the Court'. Source: 1981 Dover Orley Farm,
frontispiece to Vol II. Reprinted and discussed Hall, AT and His Illustrators,
pp. 29-40.
J. E. Millais, "Lady Mason Leaving the Court", Orley Farm
First of the series of Lady Mason's ordeal at
court and at the Cleeve, all of which are wholly successful and have
been reprinted and/or comment on in various books on Trollope and
book illustration the Victorian period. Trollope has so many of these scenes where key characters are publicly humiliated.
- 'John Kenneby and Miriam Dockwrath'. Source: 1981 Dover Orley
Farm, ii, p. 10. My comment: the wizened, poverty-striken, and
trapped expression on Miriam's face right -- as well as her
strained attempt at a good-natured expression and her shabby clothes.
- 'Guilty'. Source: 1981 Dover Orley Farm, ii, p . 32.
Reprinted and discussed Hall, AT and His Illustrators,
pp. 29-40; also reprinted in Markwick, AT and Women,
p. 55. See discussion of analogous scene illustrated by Francis
Arthur Fraser in The Golden Lion of Granpère in Trollop
on the Net, Chapter 6.
J. E. Millais, "Guilt," Orley Farm
- 'Lady Mason after her Confession'. Source: 1981 Dover Orley
Farm, ii, p. 40. Reprinted and discussed Hall, AT and His Illustrators,
pp. 29-40:
John Everett Millais, "Lady Mason after her Confession"
A picture of a woman in a poverty-striken room,
clutching her shawl around her; all in dark shadows, her face downwards in
still despair; together with Marcus Stone's depiction of Louis Trevelyan at
the close of He Knew He Was Right, 'Trevelyan at Casalunga'
(see Annotated Commentary 3 below), among the very best of the original
illustrations to all Trollope's novels. It ought to be better known.
- 'Bread Sauce is so ticklish'. Source: 1981 Dover Orley Farm, ii,
ii, p. 48. The expression on the face of the female recalls the
inane smile seen on archaic Greek statues.
- 'Never is a very long word'. Source: 1981 Dover Orley Farm,
ii, p. 76. The depiction of shamefastness in the young girl
has dignity and repose; the mother looks concerned; there is intelligence
in the faces.
- '"Tom", she said, "I have come back". Source: 1981 Dover Orley Farm,
ii, p. 88. This one recalls Millais's depiction of a crisis
between the Robarts's ('"Mark", she said, "the men are here"', see above).
The only problem is Mrs Furnival is again made too young. He is too tensed
up. Millais's pictures are constantly slipping into irritation when he
wants simple distress and stoic shared pity and admission of vulnerability.
- 'Lady Mason going before the Magistrates'. Source: 1981 Dover Orley Farm,
ii, p. 96 Hall, AT and His Illustrators, pp. 29-40.
My comment: loving attention to luxurious dress and withdrawn expression
on face has the effect of making her a somewhat repressed trophy for
rich people, not a woman in distress and embarrassment.
- 'Sir Peregrine at Mr Round's Office'. Source: 1981 Dover Orley Farm,
ii, p. 126. Now Sir Peregrine looks too old,and Mr Round too
round and somehow effeminate (the blond curly hair is overdone).
>hr>
- '"Tell me, Madelaine, are you happy now?"'. Source: 1981 Dover Orley Farm,
ii, p. 144:
John Everett Millais, "Judge Staveley and his daughter"
This is a remarkable depiction of imminent loss
retrieved; the old man is gallant and strong, the girl looks up to him
with quiet trust. See my Trollope on the Net, Chapter 6.
- "No surrender". Source: 1981 Dover Orley Farm,
ii, p. 148. See Michael Mason, 'The Way We Look Now: Millais'
Illustrations to Trollope', Art History, 1 (1978), pp. 313-25.
Rhe relationship between the two male Ormes
brought forward. The young man's face looks too sour, something
wet about it.
- 'Mr Chaffanbrass and Mr Solomon Aram'. Source: 1981 Dover Orley
Farm, ii, p. 172. Reprinted Hall, AT and His
Illustrators, p. 46; Trollopiana, 27, p. 12;
see also Mason, 'The Way We Look Now', pp. 313-25:
John Everett Millais, "Mr Chaffanbrass and Mr Solomon Aram",
The faces are lively and there is an alertness about gestures; problem for
modern viewer is implied anti-semitism in the exaggerated features
of the faces.
- 'The Court'. Source: 1981 Dover Orley Farm, ii,
p. 190. Reprinted and discussed Hall, AT and His Illustrators,
pp. 29-40; see also Mason, 'The Way We Look Now', pp. 313-25:
John Everett Millais, "The Court", Orley Farm
Another of those illustrations which stand out among the
all the original ones of the novels as peculiarly delicate in its
psychological depictions and strong in its lines, composition,
and shadowings. Superb.
- 'The Drawing-Room at Noningsby'. Source: 1981 Dover Orley
Farm, ii, p. 202. Reprinted and discussed Hall, AT and His
Illustrators, pp. 47-48:
John Everett Millais, "Drawing-Room at Noningsby", Orley Farm
Quiet effectiveness of ordinary scene of people sitting around
fire; very real somehow. To be compared with a number of scenes George
Housman Thomas drew for The Last Chronicle of Barsetshire
(see Annotated Commentary 2 below), especially, 'Grace Crawley reads
her letter, "She read the beginning -- 'Dearest Grace'"'.
- '"And how are they all at Noningsby?"'. Source: 1981 Dover Orley
Farm, ii, p. 206. My comment: what is meant for an expression of
overt anxiousness is lost in the translation from the woodcut to the
print.
- '"How Can I Bear It?"'. Source: 1981 Dover OrleyFarm, ii,
p. 240. Depiction of strain beyond endurance becomes one of
theatrical hysteria and is not moving in the way intended. Lady Mason
holds her head in a way that makes us think of someone with a bad headache.
- 'Bridget Bolster in Court'. Source: 1981 Dover OrleyFarm, ii,
p. 246. Reprinted and discussed Hall, AT and His Illustrators,
pp. 29-40. We see the male authority figures arrayed from
Lady Mason's standpoint.
- 'Lucius Mason, as he leaned on the Gate that was no longer his own'
1981 Dover OrleyFarm, ii, p 264.
John Everett Millais, "Lucius Mason, as he leaned on the GAte that was no longer his own, Orley Farm
This depiction of
absorption in a landscape centering on Lucius's lose ought to be better
known; see Trollope on the Net, Chapter 6. It is Trollope himself as a young man; so many of these picture figure forth his inner life.
- 'Farewell!' Source: 1981 Dover OrleyFarm, ii, p. 304
Reprinted and discussed Hall, AT and His Illustrators, pp. 29-40;
Mason, 'The Way We Look Now' does justice to this lyrical depiction
of the two grieving women parting, a scene, as he points out, only
made possibly by Trollope's text, not one he dramatises, pp 316-19.
The picture of the two women's yearning escapes the moralism of
the event.
John Everett Millais, "Farewell", Orley Farm
- 'Farewell'. Source: 1981 Dover OrleyFarm, ii, p. 310.
Again see Hall, AT and His Illustrators, pp. 29-40;
Mason, 'The Way We Look Now', pp. 316-19.
