Index

An Account of the Manners and Customs of the Modern Egyptians 8, 48, 54, 61, 65, 68, 70, 73–5, 80, 81, 83, 85, 107, 113–16, 117, 173n.5, 174n.11, 190n.50, 193n.74, 193n.75, 193n.76

contemporary praise of 54

“definitive” edition of 54, 65, 190n.50, 193n.74

impact of on Lewis 8, 54, 61, 68, 70, 73–5, 79–81, 83, 85, 107, 114–17, 182n.84, 188n.34, 192–3n.69, 200n.48

influence of on contemporary artists 75, 188n.37, 188n.38

Lewis’s unique approach to in his art 75, 80, 85, 107, 112–17

literary style of 81, 83, 85, 190n.50, 190n.53, 193».75

as representative of Lane’s broader perspective and mission 116–17

significance of illustrations in 54, 75, 173n.5, 206n.28

see also intertextuality; Lane, Edward William; The Midday Meal, Cairo; The Reception; Study for “The Courtyard of the Coptic Patriarch’s House in Cairo”

Aestheticism 85, 142, 217n.60

al-Kamil, Sultan 46

Alexandria 15, 23, 44, 47, 53, 176n.31, 180–1n.77

Lewis’s marriage in 53

‘Ali, Muhammad, Pasha of Egypt 41, 44–7, 49, 51, 58, 175n.25, 176n.29, 185n.114

dress of 44, 175n.22

and indigenous culture of Egypt 44–5

portraits of 45–7, 51, 175n.23, 175n.24, 175–6n.26, 179n.63

reforms of 41, 47, 152n.10, 159–60n.34, 175n.20, 175n.21, 176n.29, 185n.113

rise to power 44, 174n.18

see also Lewis, John Frederick: Portrait of Mehmet Ali Pasha

Allorn, Thomas 47, 191n. 58

“Angel in the House” 104, 107, 201 n.65

Annunciation 100–1, 102, 105

see also Campin, Robert: The Annunciation Triptych; Hhareem Life, Constantinople: as “Annunciation”; Rossetti, Dante Gabriel: Ecce Ancilla Domini! (the Annunciation)

“Arabian Nights” 22–3, 33, 164n.73

see also Lane, Edward William: The Thousand and One Nights

Arden, Joseph 81–2, 191n.61, 191–2n.62

see also The Hhareem: commission for artistic imperialism 122, 153n.19

see also Géròme, Jean-Leon

artistic “memory” 99

see also Bann, Stephen; Delaroche, Paul; Hhareem Life, Constantinople: art historical sources for

artists’ homes and studios, literature surrounding and perceptions of 32, 34

Ashley Park 34

Association Littéraire d’Égypte 50–1, 179n.61

Aswan 54

Bann, Stephen 99, 101 see also artistic “memory”

Barnet, Charles John 49

Bartlett, William Henry 138

Convent of St. Catherine, Mount Sinai

Bass 73, 188n.29

Beavis, Richard 138

Bell, George 32

“Bey,” designation of Lewis as 17, 24, 159n.33

biography, as literary genre 19–20, 32

bodycolor, use of in Lewis’s paintings 12, 87–9, 89–90, 92, 156n.8, 171n. 141, 214–15n.30

Boer, Inge E. 19, 161n.45

Bonaparte, Napoleon 43, 172n.5, 174n.17, 188n.27

Bonomi, Joseph 40, 48, 50, 51, 52–3, 54, 145, 172n.4, 177n.42, 180–1n.77, 181n.78, 181n.79, 182n.89, 182n.91, 183n.97, 191n.61

Boulac 52

“Brewster’s Stereoscope” 124, 126, 210n.64

see also stereoscope

burko’ (see veil)

Bursa 15

see also Lewis, John Frederick: Interior of the Great Mosque, (Ulucami) Bursa, Turkey

“Byromania” 29

see also Moore, Doris Langley

Byron, George Gordon Noel (Lord) 28–32, 77, 156n.11, 159n.34, 167n.100, 167n.103, 167n.104, 201n.62

and Albanian dress 29, 32

as model for Lewis’s self-fashioning 29–32

LITERATURE:

Byron’s Beauties 29

Maid of Athens 29, 167n.100

see also Lewis, John Frederick: An Armenian Lady, Cairo – The Love Missive (An Albanian Lady); Phillips, Sir Thomas: George Gordon Byron, 6th Baron Byron

“Byronism” (see “Byromania”)

Cairo 3, 7, 8, 15, 16, 17, 21, 24, 26–7, 39, 40–9, 51, 52, 53, 54, 55, 58, 59, 61, 67, 68, 72, 74–5, 81, 113–14, 116, 122, 132, 133, 175n.21, 176n.27, 177n.41

Coptic Patriarch’s residence in 67, 186n.6

cost of living in 52–3, 180n.68

hybrid nature of 48–9

Lewis’s arrival in 15

Lewis’s portrayal of as both ancient and modern 45–6, 176n.27

private houses in 74–5, 113–14, 172–30.5, 177n.39

professional and social organizations in 49, 179n.61

as reflection of Lewis 46–7

reforms in 26–7, 41, 43, 44, 58, 152n.10, 159–60n.34, 175n.21

tourists’ impressions of 48, 175n.21

see also Lewis, John Frederick: Portrait of Mehmet Ali Pasha

Callow, William 13, 158n.16

Campin, Robert 100

The Annunciation Triptych 100, 100–2, 101, 104

Cannadine, David 59, 166n.89

Ornamentalism 59, 166n.89

The Carpet Seller 1–4, 2, 3, 7, 23–4, 27, 43, 59, 67, 105, 132, 151n.1, 151n.2, 151n.4, 152n.7

antiquated costume of 27, 59

as cannily autobiographical portrait 3, 7, 151n.4, 165n.85

conceptual adjustment compelled by 7

as documenting diversity of mid-nineteenth-century Cairo 3, 152n.13

familiar face of 1

geographic ambiguity of 3

and image of Castlereagh 132

and Notes of a Journey from Cornhill to Grand Cairo 23–4

as “reality effect” 7

see also embedded self-portrait

Castlereagh, Viscount, Frederick William Robert Stewart 129–30, 131, 132, 133, 134, 136, 138, 139, 140, 143, 175n.23, 177n.42, 180n.69, 183n.96, 211–12n.3, 212n.6, 213n.17, 213n.22, 213n.26, 213–14n.26, 214n.27, 215n.38, 216–17n.50

contemporaries’ misidentification of in Lewis’s painting 133

and “cool” reaction to historic and religious site 139–40

dress of 131, 138, 183n.96, 216–17n.50

“imperial” body of 134

journey from Cairo to Palestine 133, 213–14n.26

as “odalisque” 131

as patron of Lewis 129–30, 211–12n.3

as proxy for Lewis 132

as symbol of Lewis’s intellectual project 143

unflattering depiction of 131, 134

see also A Frank Encampment in the Desert of Mount Sinai, 1842

cats 63, 64, 91–2, 94, 98, 102, 104, 196–7n.13, 197n.14, 197n.15

Cattermole, George 13

see also Lewis, John Frederick: Highland Hospitality

Chapman & Hall 20, 21

see also Notes of Journey from Cornhill to Grand Cairo

Charles Knight & Company 54

chibouk (see pipes)

“Chinese” white 12, 214–15n.30

see also bodycolor

Citadel, Cairo 44, 45, 174n.18, 175n.24, 176n.27, 176n.28, 176n.29

see also Lewis, John Frederick: Portrait of Mehmet Ali Pasha

Clifford, James 56

see also “participant observation”

clothing

Lewis’s attention to in pictures 15, 47, 49, 64, 79, 87–90, 92, 110, 131, 194–5n.2

Lewis’s depiction of, as per contemporary reviews 77, 79, 123

Lewis’s and others’ purchase of while abroad 27, 75, 183n.96

as “a major preoccupation” in the nineteenth century 59

Mamluk 27, 58

political implications of 27, 44, 56–7, 58

as signifier of class 26–7, 58–9, 90, 166n.89, 184n.108, 185n.114

special interpretive value of Middle Eastern 25–6

symbolic value of the color green 65, 102

Turkish 23, 25–7, 49–50, 56–7, 58–9, 166n.89, 185n.114

see also ‘Ali, Muhammad, Pasha of Egypt: dress of; Byron, George Gordon Noel (Lord): and Albanian dress; Castlereagh, Viscount, Frederick William Robert Stewart: dress of; cultural cross-dressing; Frith, Francis: significance of dress of; Lane, Edward William: dress of; Lewis, John Frederick: dress of; Montagu, Lady Mary Wortley: dress of; slippers; Tanzimat; tarboosh; Thackeray, William Makepeace: adoption of Turkish clothing; turban; veil; Wilkinson, Sir John Gardner: dress of; yellow slippers

Codell, Julie 34

Colbert, Stephen 7

see also “truthiness”

Coleridge, Edward 33, 34

Constantinople 14, 15, 44, 89, 119, 158n.19, 158n.20, 162n.60, 162n.61, 164n.73

Coptic Patriarch, as historical personage 66–7, 186n.6

described by Lane 66–7

see also Study for “The Courtyard of the Coptic Patriarch’s House in Cairo”

copy (see repetition)

copyright 81, 191–2n.62

Cornhill 21

Cornhill to Cairo (see Notes of a Journey from Cornhill to Grand Cairo)

Coste, Pascal Xavier 49, 172–3n.5

costume (see clothing)

costume pictures 29

see also Phillips, Sir Thomas: George Gordon Byron, 6th Baron Byron

Cotman, John Sell 11–12, 156n.6, 157n.11

cultural cross-dressing, concept and scholars’ considerations of 56, 58, 166–7n.90, 184n.101

see also clothing; “participant observation”

Dadd, Richard 47, 52

Dauzats, Adrien 138

Delaroche, Paul 99, 101

see also artistic “memory”

déliais 74–5

see also Lewis, John Frederick: A Cairo Bazaar – The Delláls

Dent, J. M. 32

detail, theoretical consideration of in feminist terms 121–2, 208n.49, 208n.50

in Gérôme’s art 122, 153n.19

in Lane’s prose 79, 81, 83, 85, 117, 190n.53

in Lewis’s art 8, 79, 85, 111, 112, 117, 121–2, 127, 189n.45, 190n.53, 208–9n.52

as seditious 122

see also Hie Hhareem: The Reception; Schor, Naomi; stereoscopy

Deverell, Walter Howell 107

A Pet 107, 108

Dillon, Frank 47, 173n.5

dogs 3, 11, 97, 134, 135, 136, 149, 213n.26

dragoman 133, 134, 139

see also “Mahmoud”

dress (see clothing)

Drewett, Mr. William, of Walton 145

durka’ah 41

Dutton, E. P. 32

“Eastern” essays (see Notes of a Journey from Cornhill to Grand Cairo: origins of)

eavesdropping 109, 110, 203n.9

and concept of separation of spheres 110

see also Indoor Gossip; Outdoor Gossip

Edfou 54, 216n.43

Egypt

architectural reforms in 41

British intervention in the affairs of 119

Citadel as symbol of tumultuous political history of 46

conventions of women’s social etiquette in 68, 111–12

impact on Lewis 39, 42–3

increasing ease of travel to 47, 176n.35

Lewis’s arrival in 11, 15

Lewis’s travels around 54–5

Muhammad ‘Ali’s rise to power in 43–5

Napoleon’s invasion and French occupation of 43

new sartorial policies in 26–7, 49–50, 166–7n.90

and process of westernization 39, 44–5

and promotion of tourism in 44

see also Cairo

Elliot, Sir Henry 119, 206n.37

Elliott & Fry 145

John Frederick Lewis 144

Elphinstone. Lord 133, 179n.63, 213n.19

embedded self-portrait 27, 100, 139, 151n.4, 165n.85, 196n.8

see also In the Bezestein, El Khan Khalil, Cairo (The Carpet Seller)

Europa 16, 159n.30

Evans “of Eton,” William 13, 33

see also Lewis, John Frederick: Highland Hospitality

Ezbekiyah 48, 52, 177n.41

faces

Lewis’s unsatisfying painting of 65, 89, 97, 123, 200–1n.60, 208n.51

Ruskin on 103, 149, 200n.60, 212n.7

unattractiveness of harem women’s 102–3

visibility of in Egyptian society 68, 110, 121, l86n.16, 207n.46

as windows into soul 103

see also veil

fans 89, 91, 94, 102, 104, 110, 112, 123, 195n.5

Fenton, Roger 36, 126, 177n.38, 177n.39. 211n.76

fez (see tarboosh)

Fisher, Judith L. 27

fitna 117–18

see also Mernissi, Fatima; The Reception

fountains 64, 65, 110, 112, 114

“Frank” 41, 131, 133, 184n.99, 212n.4

A Frank Encampment in the Desert of Mount Sinai, 1842 35–6, 128, 129–43, 130, 131, 132, 134, 135, 136, 137, 147–50, 171n.142, 212n.5, 212n.6, 214n.28, 214n.29, 215n.32, 217n.52

absence of Antonio Schranz in composition of 129, 134

commission of 129, 211–12n.3

contemporaries’ understanding of 139–40

contents of tent in 134–5, 215n.33

cultural devision 138–9

dead game in 136, 215n.35, 215n.36, 215n.37

delay in executing 129–30

as example of myth of British patriarchal power 134, 143

figure of Castlereagh in 131–4, 212n.7, 213n.10

figure of Sheikh Hussein in 130–1, 134, 136, 138, 139, 149, 214n.27, 216n.41

impact of Aesthetic movement on

interpretation of 142–3

map in 135, 140

misidentification of central figure in 133

and Notes of a Journey from Cornhill to Grand Cairo 132

oil version of 141–2, 217n.54

and The Reception 143

Ruskin’s opinion of 35–6, 135, 139–40, 141, 142, 147–50

significance of St. Catherine’s Monastery in 136–9

as symbol of moral decline of modern Englishman 139–40

as symbol of transcultural harmony 138

see also Appendix A; Castlereagh, Viscount, Frederick William Robert Stewart

Fraser’s Magazine 21

Frimley Parish 145, 152n.14

Frith, Francis 25, 59, 166n.89, 210n.71

significance of dress of 25, 59, 166n.89, 185n.113

Francis Frith 25, 25

Galignani’s Messenger 135, 214n.28

Gardiner, Marguerite, Countess of Blessington 31

gazelles 69, 81, 111, 112, 136, 205n.22

“Gebel Tor” 130

George IV, King of England 13, 155n.1

Gérôme, Jean-Léon 6, 9, 67, 153n.19, 188n.37

The Snake Charmer 7, 122, 153n.19

see also artistic imperialism; detail: in Gérôme’s art

Goodall, Frederick 47, 173n.7, 180n.68, 184–5n.109, 196n.8, 202–3n.5, 213n.18

gouache (see bodycolor)

The Grammar of Ornament 40, 93–4, 172n.3, 197–8n.24

see also Jones, Owen

Grave of John Frederick Lewis, St. Peter’s, Frimley, Surrey 146

see also Lewis, John Frederick: grave of

green, as symbolic color 65, 102

Green, Nicholas 19–20

Grewal, Inderpal 119

Griffith, T. 35

Griffith’s Gallery, London 83, 193n.72

Grundy, William Morris 25, 36, 166n.89

Self-Portrait in Oriental Costume 25, 25

Haag, Carl 47, 169n.124

Halil Pasha 119

Harding, J. D. 28

harem

British policy concerning 119

comparison with Victorian home 89, 103–4, 193–4n.76, 195n.7

conventions in Lewis’s depictions of 120

and fitna 117–18

and freedom 103–4, 107, 127, 198n.31, 202n.69

and gender prescriptions surrounding Islamic architecture 116, 117–18, 206n.33

hierarchy of women in 81, 191n.59

Lane’s commentary on 81, 83, 115–16, 190n.50, 191n.59, 192–3n.69, 193n.74

literary and visual records of before Lewis 112

as microcosm of region’s ills 119, 195n.7

objectionable character and physical unattractiveness of women in 92, 102–3, 104, 122–3, 197n.19, 200–1n.60, 201n.62

and purpose of mashrabiyyah in architecture of 67–8, 94, 197n.22

as related to issues of veiling and unveiling 67–8, 120–1, 192n.66, 205n.26, 208n.47, 208n.48

see also fitna; The Hhareem; Hhareem Life – Constantinople; Montagu, Lady Mary Wortley; polygamy; The Reception; Vanmour: Reception in a Turkish Harem (In the Harem)

Harper, Marian 53, 54–5, 165n.80, 180–1n.77, 181n.79, 182–3n.91, 185–6n.2, 193n.74, 195–6n.8, 218n.2

see also Lewis, John Frederick: marriage of

Hartama, Governor Hatim Ibn 45

Harvey’s 135, 215n.33

Hatem, Mervat 119

Hausmannization 44

see also Cairo: reforms in

Hay, Robert 50, 172n.4, 183n.98, 184n.99

Hhareem 10, 26, 27, 27, 61, 78, 79–85, 91, 95, 96, 97, 103, 107, 116, 120, 126, 127, 167n.92, 183n.94, 190n.55, 191n.61, 192–3n.69, 193n.76, 194n.77, 194n.78, 199n.36, 200n.48, 201n.63, 204n.19, 207n.43

arrival at the Old Watercolour Society 80, 183n.94, 192n.67

cat in 91–2

as “Chinese” in flatness 79

commission for 81

contemporaries’ reactions to “chasteness” and “morality” of 82–3

costume of Pasha in 27, 85

descriptive label for 80–1

ethnicities of women in 80–1

as evidence of Lewis’s slaveholdings 190n.58, 194n.77

exhibition of at the Royal Scottish Academy 80, 167n.92

as first in teleological line of Lewis’s harem pictures 126

and “inductive reasoning” 81

as instructive about the institution and prohibitions of the harem 81, 192n.66

and “J.-” 85

and Lane’s literary stylistics 83, 85

and Lewis’s avoidance of controversy through technique 83, 85, 194n.77

and Notes of a Journey from Cornhill to Grand Cairo 85

as painting men loved “to linger around and that women . . . pass[ed] rapidly by” 96, 127, 199n.36

and polygamy 82, 195n.7

smaller version of 82

as technical tour de force 78

see also intertextuality

Hhareem Life – Constantinople ii, 4, 8, 78, 79, 87–105, 88, 89, 90, 91, 94, 95, 96, 107, 108, 120, 121, 122, 124, 196n.9

as “Annunciation” 100–2, 104–5

art historical sources for 97–103

and Caged Doves, Cairo 107

cat in 91–2

as Chinese screen 79

compared to Victorian home 89

and concept of separate spheres 104

contemporaries’ reactions to 94, 96–7, 102–3

as “double portrait” 99

and Ecce Ancilla Domini! (the Annunciation) 100

“Englishness” of 89, 97, 103, 104

fan in 89, 90–1, 94, 102, 104

and Grammar of Ornament 93–4

green, significance of in composition 102

and the Koran 102, 103, 200n.51

Lewis’s appearance in 100

and liberty 103–4, 198n.31

mirror in 4, 8, 94, 98–9, 100, 102, 108, 120, 124, 196–7n.13, 198n.25, 199n.36, 199–200n.41

open window and 8, 92, 102, 103–4, 107, 202n.68

optical game in 105

and Paradise 102, 200n.51

physical unattractiveness and indolence of women in 92, 102–3

and Portrait of Giovanni Arnolfini (?) and his Wife 97–9, 100

and “And the Prayer of Faith Shall Save the Sick,” (James 5:15) 92

as proxy for male viewer 95

reflection and 94, 100, 198n.25

as related to others of Lewis’s harem pictures 120, 126, 196n.9

relationship between female figures in 89, 90

religious imagery in 100–3

Ruskin’s comments and influence on interpretations of 92, 94, 97, 103, 104, 197n.15, 197n.20, 197n.23, 200–1n.60

and selective blindness of male viewers 97

as subtle affront to patriarchal power 104–5, 121

and Virgin Mary 101, 200n.50

white cloth in 92, 101, 105

women in as “Angels of the House” 104

yellow slippers in 4, 94, 95, 96, 97, 99, 100, 103, 104, 105, 112, 120, 122, 139, 198n.30, 198n.32, 198–9n.33, 199n.34

see also artistic “memory”

Hodson 73, 188n.29

“Holme, The” 33–4, 36, 37, 168n.117, 169n.127, 218n.2

Holmes, Oliver Wendell 124–5, 210n.73

hookah (see pipes)

The Hósh (Courtyard) of the House of the Coptic Patriarch, Cairo (see Study for “The Courtyard of the Coptic Patriarch’s House in Cairo”)

Hunt, Robert 124

Hunt, William Holman 19, 20, 25, 47, 75, 125, 165n.85, 166n.89, 170n.134, 186n.7, 188n.38, 189n.45, 211n.74, 215n.31

The Lantern Maker’s Courtship, A Street Scene in Cairo 75, 76

Hussein, Sheikh 130–1, 133, 134, 136, 138, 139, 149, 214n.27, 216n.41

see also A Frank Encampment in the Desert of Mount Sinai, 1842

Ibrahim Pasha 51

imperialism 56–7, 58, 59, 122, 209n.55

In the Bezestein, El Khan Khalil, Cairo (The Carpet Seller) (see The Carpet Seller)

Indoor Gossip 107–9, 109, 110, 111, 112, 123, 126, 203n.6

and concept of separate spheres 110

criticism of 123

eavesdropper in 109, 203n.9

and fragility of systems of social,

domestic, and sexual order 110

as gentle prelude to The Reception 108, 112

jewelry in 108–9

mirror in 108

and stereoscopy 126

see also Outdoor Gossip

intertextuality 19, 61, 61–85, 118

see also The Hhareem; The Midday Meal, Cairo; Study for “The Courtyard of Coptic Patriarch’s House in Cairo”

Islamic design, elements of 40, 93, 197n.23, 204n.13

influence on Lewis 214n.28, 214n.29

Jenkins, Joseph John 28, 159n.26, 163n.68, 167n.99, 168n.120, 170–1n.139, 171n.145

see also Old Watercolour Society

Johnson, Harry John 47

Jones, Owen 40, 93–4, 172n.3, 172n.4

see also Tlie Grammar of Ornament

ká’ah 115–16, 117

khanuin 92, 197n.19

Kinglake, Alexander William 22, 23, 164n.73, 164n.75, 212–13n.9

Eothen; or Traces of Travel, Brought Home from the East 22, 23, 139, 164n.73, 164n.75, 212–13n.9

Koran 81, 102, 103, 133, 200n.51

“Krehmer, Chevalier” 49

Kris, Ernst 19

Kurz, Otto 19

Lady Mary Wood 47, 176n.31

A Lady Receiving Visitors . . . (see The Reception)

Landseer, Edwin 11, 155n.2, 202n.2

Lane, Edward William Lane

as artist 178n.45

and circle of friends in Cairo 48, 55–6, 183n.91

dress of 55–6, 58, 183n.96, 184n.102, 185n.114

as imperialist 56–8, 184n.106

influence of lifestyle on Lewis 55–6

influence of professional pursuits on Lewis 54–5, 182n.84, 205n.20

and lifestyle in Cairo 48, 55–6, 179n.64, 183–4n.99

marriage of 183n.98

membership of in Anglo-Egyptian clubs and organizations in Cairo 51

as “participant observer” 56, 58, 183–4n.99

and personal relationship with Lewis 51, 53, 74

and perspective on Egyptian society 117

pseudonym of 183n.97

reputation of in England 116, 190n.50

and Said 56, 58, 178n.44, 184n.106

and sister Sophia 178n.46, 193n.74

and use of camera obscura 211n.75

and visits to Egypt 177–8n.44

WORKS:

Court of a Private House in Cairo 74, 75

Fountain and Suffeh 118

A Ká’ah 115, 117, 119

A Party at Dinner or Supper 74, 74

Pavement of a Durká’ah 118, 191n.60

Postures of Prayer and Postures of Prayer—continued 75, 77

LITERATURE:

An Account of the Manners and Customs of the Modern Egyptians (see main entry)

Arabic-English Lexicon 51, 133

The Thousand and One Nights 83, 164n.73, 193n.75

see also Lewis, John Frederick: and personal relationship with Lane

Lane, John 32

Lane, Richard James 48, 56, 178n.45

Edward William Lane 56, 58

“languid Lotus-eater” 18, 22, 23, 25, 33, 34, 37, 52, 131, 134. 160n.37

see also Lewis, John Frederick: photographs of

lattice 2, 37, 68, 69, 101, 123, 173n.7, 197n.21, 199n.36, 202n.3, 208n.51

see also mashrabiyya

Lear, Edward 47, 75–6, 160n.40, 182n.84

Lepsius, Richard 40, 172n.4

Lewis, Frederick Christian (“Indian”) 133. 179n.63, 183n.94, 188–9n.41

Lewis, John Frederick

adaptation of Notes of a Journey from Cornhill to Grand Cairo in paintings 8, 27, 62–85, 87, 131–2, 187n.20, 205–6n.27

alleged harem of in Cairo 17, 53, 100, 159–60n.34, 187n.18, 193n.74, 194n.77

as “Bey” 17, 24

as an animal painter 11, 64, 78, 91, 134, 136, 149, 155n.2

burial of 145, 218n.2, 218n.5

in Bursa 15

and business deal with Thackeray 21–2

and Byron 29, 31–2, 77, 156n.11

and circle of friends in Cairo 8, 40, 42, 48–51. 53. 54. 55–6, 58–9. 72, 74, 182–3n.91, 191n.61, 194n.77, 205n.20

coffin of 145, 218n.4

as collector and admirer of Egyptian antiquities 54, 182n.89

concerns over and practice of “repeating himself” 142, 186–7n.17, 217n.53

contemporary reviews and criticism of 32, 33, 35–6, 63, 68, 70, 75–80, 82–3, 89, 90, 92, 94, 96–7, 99, 102–3, 122–4, 126, 127, 133, 135, 139–43, 147–50, 151n.4, 152n.7, 171n.142, 186n.5, 190n.51, 190n.54, 190n.57, 192n.67, 192n.68, 192–3n.69, 195n.3, 196n.9, 196n.12, 197n.20, 197n.23, 199n.34, 199n.36, 199n.38, 200–1n.60, 201n.63, 202n.3, 208n.51, 213n.25, 214n.28, 215n.34, 216–17n.50

and decision to paint in oils 18, 34–6, 142, 170n.134, 170n.136, 170n.137, 170–1n.139

declining reputation of in England after 1858 34–6, 97, 142

and discourse of Orientalism 9, 58, 134, 143, 145, 206n.35, 211n.1

and domestic help in Egypt 17, 52–3, 58, 159–60n.34, 180n.73, 180n.75

and domestic help in England 169n.127

dress of 16–17, 18, 23–7, 32, 55, 58–9, 85, 166n.89, 167n.94, 175n.23, 179n.65, 184n.108, 184–5n.110, 188n.40, 194n.2

early career of 11–15, 155n.2

in Egypt 54–5

and elusiveness of “Egyptian years” 6, 15, 20, 39, 171n.146

and embedded self-portraits 3, 7, 27, 100, 139, 151n.4, 165n.85, 196n.8, 213n.10

as ethnographer 3, 7, 36, 54, 77–9, 81,89, 151n.4, 182n.85, 196n.9

financial frustrations of 3, 35, 36, 168n.117, 170–1n.139

and friendship with Roberts 13, 52, 138, 142, 156–7n.11, 160n.39, 166n.89, 174n.15, 179n.65, 182n.86

and friendship with Thackeray 21–2, 159n.26

grave of 152n.14

as “harem master” in paintings 85, 100

historiography of 5–7, 9, 15–16, 18, 154n.22

and house in Cairo (see “Mr Lewis House”)

and house in England (see “Holme, The”)

and house fire in Cairo 55, 183n.94

impact of Lane s Modern Egyptians on 8, 54, 61, 68, 70, 73–5, 79–81, 83, 85, 107, 114–17, 182n.84, 188n.34, 192–3n.69, 200n.48

impact of Thackeray’s account on biography and reputation of 7, 17–19, 20, 21–37, 39, 42, 51, 75–9, 160n.38, 185n.110, 188n.40

as imperialist 6, 58–9, 122, 196n.8

and inactivity in Egypt 18, 51–2, 179n.65

and influence of and friendship with Wilkie 13, 14, 45, 156n.11, 156n.13, 158n.20, 183n.96

and interest in photography 125–6, 211n.75, 211n.76

and irreverence toward Lane’s text 8, 108, 112–17

as “J.———” 16–17, 18, 22, 24, 27, 28, 32, 33, 34, 36, 39, 85

and knowledge of Arabic 49, 50, 58, 78, 116, 179n.60

laborious technique of 11–13, 70, 78, 79–81, 96–7, 121–2, 147–50, 156n.8, 189n.45, 216n.46

and Lane, Edward William, 53, 205n.20

as “languid Lotus-eater” 18, 22, 23, 25, 33, 34, 37, 52, 131, 134, 160n.37

and letters to Bonomi 48, 52–3

lithographic volumes by 13, 157n.13, 158n.19, 182n.86

as living in fine fashion in Cairo 52–3

“magical” nature of 51

marriage of 53, 180–1n.77, 181n.79, 183n.91

mirage, art and life as 7, 37, 146

as mythic figure 7, 15–37, 41, 181n.77, 185n.110

and Nightingale’s accounts of 48–9, 54–5, 58–9, 182–3n.91, 183n.94

and “offhand” treatment of figures in paintings 65, 67

and Old Watercolour Society 33, 35–6, 142, 168–9n.120, 170n.137, 170–1n.139

and Orientalism 6, 153n.19

paintings by compared to and sourced from photographs 25, 36, 177n.38, 211n.75

in Paris 13, 159n.26

as “participant observer” 58–9, 78, 85

“participatory” works of 126

and personal relationship with Lane 51, 53, 74

photographs of 1, 23–5, 27–8, 32, 36, 59, 105, 165n.82

and Pre-Raphaelites 33, 99, 100, 125–6, 142, 153n.18, 156n.8, 165n.85, 170n.134, 189n.45, 196n.8, 200n.49

and book of eastern manners 54, 182n.86

as President of the Old Watercolour Society 4, 18, 28, 33, 35, 37, 43, 102, 170n.133, 192n62, 211n.76

and “reality effect” 7, 8, 27, 72, 75–85, 121, 124–7, 129, 143, 145

reclusive nature of in England 33, 37, 168n.118, 169n.121, 169n.123, 171n.146

and reputation in England as authority on Middle Eastern society 75–80, 116, 160n.40, 188n.40, 188–9n.41, 190n.50

and resignation from Presidency of the Old Watercolour Society 4, 34–6, 87, 142, 170n.132

in Rome 13, 168n.120

and Royal Academy 4, 18, 35, 156n.3, 160n.39

and self-fashioning 7, 8, 23–37, 145, 198–9n.33

and similarities between Orientalist subject matter and “Oriental” style 79, 190n.52

in Spain 13, 149, 156–7n.11, 157n.12, 157n.13, 157–8n.14

as “Spanish” Lewis 13

and strategic use of detail 8, 79, 85, 111, 112, 117, 121–2, 127, 189n.45, 190n.53, 208–9n.52

subversiveness of 85, 112–17, 122, 143, 171n.146, 188n.36, 297n.40, 209n.55, 211n.1

and teleological line of harem pictures 126–7

and his “terrestrial Paradise” 52–3, 54, 181n.78

and Turkey 14, 15, 158n.19, 158n.20

uniqueness among Orientalist painters 9, 47, 145–6, 177n.38

and use of bodycolor and “Chinese” white 12, 87–9, 89–90, 92, 214–15n.30

in Venice 11, 156».4, 158n.17

in Walton-on-Thames, Surrey 33, 145, 168n.117, 169n.127, 171n.145, 180n.73, 218n.2

and Wild 40–2, 48, 172n.2, 173n.8, 179–80n.66, 187n.18

WORKS:

An Armenian Lady, Cairo – The Love Missive (An Albanian Lady) 29, 30, 167n.102

Buck-Shooting in Windsor Great Park 12

Caged Doves, Cairo 107, 108, 202n.3

A Cairo Bazaar – The Delláls 74–5, 76, 152n.11, 188n.36, 202–3n.5, 207n.41, 207–8n.46

The Carpet Seller (In the Bezestein, El Khan Khalil, Cairo [The Carpet Seller]) (see main entry)

Courtyard of the Painter’s House, Cairo 68, 69, 187n.18

Easier Day at Rome 13, 16, 158n.18

The Egyptian Magician Holding a Séance with Members of the European Community in Cairo 49–50, 50, 51, 72, 179n.55. 179n.56

A Frank Encampment in the Desert of Mount Sinai, 1842 (oil) 140–2, 217n.54

A Frank Encampment in the Desert of Mount Sinai, 1842 (watercolor) (see main entry)

A Halt in the Desert (The Well in the Desert) 78, 79

The Hhareem (see main entry)

The Hhareem, Cairo; The Hhareem of a Mamluke Bey, Cairo . . . 82, 82, 192n.64, 192n.65, 192n.66

Hhareem Life – Constantinople (see main entry)

Highland Hospitality 13, 14

The Hósh (Courtyard) of the House of the Coptic Patriarch, Cairo . . . 64, 186n.17

In the Bezestein, El Khan Khalil, Cairo (The Carpet Seller) (see The Carpet Seller)

Indoor Gossip (see main entry)

An Intercepted Correspondence, Cairo I, 4, 29, 120, 192–3n.69, 203n.8, 203n.10, 207n.43

Interior of the Great Mosque, (Ulucami) Bursa, Turkey 15, 17

Interior of a Mosque, Afternoon Prayer (the ‘Asr) 1, 4

Interior of a Turkish Habitation 11, 13

A Lady Receiving Visitors . . . (see The Reception)

Life in the Hareem, Cairo; An Inmate of the Hareem, Cairo 120, 124, 125, 196n.9, 198n.25, 203n.6

Lilium Auratum vii, 84, 85, 142–3, 194n.80

A Lioness 12

Mendurah in my House in Cairo 41, 43

The Midday Meal, Cairo (see main entry)

Outdoor Gossip (see main entry)

Portrait of Mehmet Ali Pasha 45–7, 46, 51, 175n.23, 175n.24, 175–6n.26, 176n.27, 179n.63

“And the Prayer of Faith Shall Save the Sick,” (James 5:15) 86, 92, 93, 188n.34

The Reception (see main entry)

Spanish Fiesta 15

Study for “The Courtyard of the Coptic Patriarch’s House in Cairo” (see main entry)

The Well in the Desert (see A Halt in the Desert)

Lewis, Michael 133, 153n.18, 153n.19, 173n.10, 181n.77, 215n.33

London

The Hhareem’s arrival in 15, 83

Lewis as victim of marketplace in 3

Lewis as point of contradiction and curiosity in 27, 37, 59, 160n.41

Lewis receives hyperbolic praise in 18

Lewis’s absence from social and artistic scene in 4, 15, 33, 36, 37, 168n.117, 168n.118, 169n.121, 169n.123, 171n.146

as Lewis’s birthplace 11

Lewis’s threat to domestic conventions in 122

and Nightingale’s comparison of dinners 55

Thackeray’s references to versus Cairo 17, 18, 161n.44

London Stereoscopic Company 124, 210n.65, 216n.66

Luxor 54, 216n.43

Macmillan 32

magreb (see prayer)

“Mahmoud” 133

Mamluks 27, 43–4, 45, 46, 58, 167n.95, 174n.18, 188n.27

architecture of 174n.11, 176n.29

dress of 27, 58

political power of 43–4, 167n.95

slaughter of 44, 45, 46, 174n.18

mandarah 41, 113–4, 115, 117, 119, 120, 121, 172n.2, 173n.8, 174n.13, 203–4n.11

as defined by Lane 113–4, 115

transposition of with ka’ah in The

Reception 115–17, 119

Wild’s rendition of versus Lewis’s 41

see also The Reception

mashrabiyya 41, 67, 68, 74, 92, 94, 108, 110, 173n.8, 197n.22

see also windows

memory, artistic (see artistic “memory”)

Mernissi, Fatima 117–18

see also fitna

Methuen 32

The Midday Meal, Cairo 4, 8, 60, 61, 70–5, 71, 72, 73, 85, 105, 153n.19, 185–6n.2, 188n.36

and An Account of the Manners and Customs of the Modern Egyptians 61, 70, 73–5, 85

and The Egyptian Magician Holding a Séance with Members of the European Community in Cairo 72

empty seat in 4

as example of interpretative dilemma 72

modern appropriations of 153n.19, 185n.2

and Notes of a Journey from Cornhill to Grand Cairo 61, 70, 72–3, 85

and Study for “The Courtyard of the Coptic Patriarch’s House in Cairo” 70, 72

unusual composition of 70

see also intertextuality

mirror

in Hhareem Life – Constantinople 4, 8, 94, 98–9, 100, 101, 102, 120

in Indoor Gossip 108

Lewis’s paintings as 3, 132

in Life in the Hareem, Cairo; an Inmate of the Hareem 124

in Portrait of Giovanni (?) Arnolfini and his Wife 97, 99, 200n.45

reflections in 4, 8, 94–7, 99, 100, 101, 102, 108, 120, 139, 199n.41

symbolism of in art 196–7n.13, 198n.25, 199n.36

Modern Egyptians (see An Account of the Manners and Customs of the Modern Egyptians)

Montagu, Lady Mary Wortley 22, 25–6, 112, 164n.73, 172n.5, 201n.62, 205n.22, 205n.25, 207n.43

dress of 25–6

impact of writings on perceptions of the harem 112

letters of 22, 164n.73

popularity of into Victorian era 22, 112, 164n.73

and The Reception 112, 205n.25

Thackeray’s reference to letters of in Notes of a Journey from Cornhill to Grand Cairo 22

on women of the harem 112, 201n.62, 205n.25

Moore, Doris Langley 19

see also “Byromania”

Morier, James 22, 164n.73

Adventures of Hajji Baba of Ispahan 22, 164n.73

Mount Sinai 129, 130, 131, 133, 139, 140, 148–9, 215n.40, 216n.41

Ruskin’s comments about 140, 148–9

see also A Frank Encampment in the Desert of Mount Sinai, 1842; St. Catherine’s Monastery

Mr. Griffith’s Gallery 83, 193n.72

“Mr Lewis House” 40–2, 47, 48, 50, 52, 172n.2, 173n.8

see also Wild, James William

Muhammad, Prophet 65, 137, 216n.42

Muhammad ‘Ali (see ‘Ali, Muhammad, Pasha of Egypt)

Müller. William James 47, 75

Prayers in the Desert 75, 77

Murray, John 54, 114, 167n.104, 206n.29

Murray’s guidebooks 47, 176n.32

“Mustapha” 17, 52, 53

Napoleon (see Bonaparte, Napoleon)

narghile (see pipes)

National Gallery, London 97, 99

Newnes, George 32

Nightingale, Florence 48, 54–5, 58–9, 175n.21, 177n.42, 182–3n.91, 183n.92, 183n.94, 184n.108

impressions of Cairo 175n.21

meetings with Lewis 54–5, 58–9, 182–3n.91. 183n.92, 183n.94, 184n.108

Notes of a Journey from Cornhill to Grand Cairo 7, 8, 16–37, 39, 41, 42, 51, 55, 61–85, 131–2, 159n.28, 160n.38, 161n.42, 161n.43, 161n.44, 162n.54, 162n.55, 162n.57, 162n.58, 162n.61, 163n.65, 163n.67, 163n.69, 163n.70, 163–4n.71, 164n.72, 164n.74, 164n.75, 168n.16, 176n.28, 176n.33, 177n.41, 185n.110, 187n.20, 205–6n.27

figure of “J.——” in 16–17, 18, 22, 24, 27, 28, 32, 33, 34, 36, 39, 85

figure of “Zuleikah” in 17, 37, 53, 69–70, 72, 120, 159n.34

as “hooked” into elements of reality 18–19, 27, 37, 41, 161n.43, 164n.74, 205–6n.27

as portraying of Lewis as recluse 42, 51, 55

literary stylistics of 16, 159n.28

origins of 20–1, 162n.54, 162n.55, 162n.57, 162n.58, 162n.61, 163n.67

popularity of 20, 36, 164n.75

presence of Thackeray in 22, 23, 164n.72

as primary influence on Lewis’s biography and self-fashioning 7, 16–19, 20, 21–37, 39, 42, 51, 75–9, 160n.38, 168n.116, 185n.110

relationship of illustrations and text in 27, 163–4n.71, 187n.20

self-serving lexical references in 22–3

and use of conventions of Victorian biography to manipulate public opinion 32–3

see also intertextuality; The Midday Meal, Cairo; Study for “Hie Courtyard of the Coptic Patriarch’s House in Cairo”; Thackeray, William Makepeace

odalisque 25, 92, 131, 143, 165n.83, 212n.8

figure ot Castlereagh as 131, 143

Lewis as 25, 143

Old Watercolour Society 4, 11, 18, 28, 33, 34–5, 3°. 37, 43. 80, 87, 92, 102, 129, 139, 140, 142, 155–6n.3, 159n.26, 168–9n.120, 170n.132, 170n.133, 170n.136, 170n.137, 170–1n.139, 181n.82, 183n.94, 192n.62, 192n.67, 211n.76

and arrival of The Hhareem 80, 183n.94, 192n.67

Lewis’s Presidency of 4, 18, 28, 33, 35, 37, 43, 102, 170n.133, 192n.62, 211n.76

Lewis’s relationship with 33, 35–6, 142, 168–9n.120, 170n.137, 170–1n.139

Lewis’s resignation from 4, 34–6, 87, 142, 170n.132

and photographic album 28

rules and regulations of 33, 35, 170n.136

see also Jenkins, Joseph John

Oriental Hotel 133, 177n.41

Orientalism, discourse of 9, 58, 134, 143, 145, 206n.35, 211n.1

Orientalism 6, 122, 153n.19, 178n.44, 184n.106

cover art of 122, 153n.19

see also Gérôme, Jean-Léon; Said, Edward

Ornamentalism (see Cannadine, David)

Osman Effendi 52

Ottoman Empire 15, 26,43, 152n.13, 160n.36, 167n.95, 174n.18, 185n.114, 216n.44

Outdoor Gossip 108, 109–10, 109, 112, 112, 123, 206n.30

and concept of separate spheres 110

eavesdroppers in 110

favorable review of 123

as gentle prelude to The Reception 108, 112

see also Indoor Gossip

Overland Route 47

see also Waghorn, Thomas

P & O (see Peninsular and Oriental [P & O] Steamship Company)

“palimpsestic approach” 19

see also Boer, Inge E.

Paradise, imagery of in the Koran 102

and Hhareem Life – Constantinople 102

Paris 13, 21, 44, 47, 135, 158n.16, 159n.26, 159n.29, 159n.30, 169n.131, 172–3n.5, 179n.63, 191n.62, 202n.4, 210n.64, 216n.44

“participant observation” 56, 58

see also Clifford, James; Root, Deborah

pashalic (see ‘Ali, Muhammad, Pasha of Egypt: rise to power of)

patriarchal order and power 8, 105, 117–19, 121, 122, 127, 129, 134, 143, 145, 206n.35

fragility and fallacy of 105, 122, 129, 134, 143, 206n.35

and A Frank Encampment in the Desert of Mount Sinai, 1842 129, 134, 143

and The Reception 118–19, 121, 122, 127

see also fitna

Peninsular and Oriental (P & O) Steamship Company 20–1, 47, 162n.61, 163n.67, 176n.30

Percy, Algernon, Lord Prudhoe (see Prudhoe, Lord, Algernon Percy, later Duke of Northumberland)

Philae 54–5, 182n.91

Phillips, Henry Wyndham Sir John Gardner Wilkinson (1797–1875), aged 46, in Turkish Dress 56, 57

Phillips, Sir Thomas (1770–1845) 29, 32

George Gordon Byron, 6th Baron Byron 29, 31

Phillips, Sir Thomas (1801–1867) 52, 54, 179n.65

photography

Lewis’s knowledge and use of 125–6, 211n.75, 211n.76

paintings compared to 25, 36, 177n.38, 211n.75

see also stereoscope; Talbotype

pipes 11, 17, 23, 25, 52, 81, 109–10, 123, 131, 132, 134, 135, 152n.7

Pointon, Marcia 19–20, 161n.45

see also intertextuality

polygamy 82, 83, 89, 195n.7, 198n.32

see also harem

Poole, Edward Stanley 48, 53, 178n.46, 179n.64, 181n.78, 181n.79

Portrait of John Frederick Lewis in Ottoman Dress (see Lewis, John Frederick: photographs of)

Portrait of John Frederick Lewis in Turkish Dress (see Lewis, John Frederick: photographs of)

Poynter, Sir Edward John 34

prayer 53, 75

Pre-Raphaelites 33, 99, 100, 125, 142, 153n.18, 156n.8, 165n.85, 170n.134, 189n.45, 191n.61, 194n.80, 196n.8, 200n.46, 200n.49, 210–11n.74

interest of in Annunciation theme 100

and Lewis 33, 99, 100, 125, 142, 153n.18, 156n.8, 165n.85, 170n.134, 189n.45, 196n.8, 200n.49

and the sciences 210–11n.74

and stereoscopy 125, 210–11n.74

technique and works of 142, 156n.8, 170n.134, 189n.45, 196n.8, 200n.46, 200n.49, 210–11n.74

and van Eyck 99

Prinsep, William 47

Prisse d’Avennes, Achille Constant Théodore Émile 49, 50–1, 160n.34, 178n.53, 194n.77

Prudhoe, Lord, Algernon Percy, later Duke of Northumberland 133, 143

Punch 20, 21, 162n.55

Punch in the East 20

Punch’s Pocketbook 23

Putnam, G. P. (Sons) 32

Qasr El-Gawhara (Jewel Palace) 46

“reality effect” 7, 8, 27, 72, 75–85, 121, 124–7, 129, 143, 145, 154n.24, 210n.73

and stereoscopy 124–7, 210n.73

The Reception (A Lady Receiving Visitors . . . [The Reception]) 4, 8, 107–27, 107, 113, 114, 115, 129, 143, 203n.10, 205–6n.27, 206n.35, 211n.78

absence of male figure in 120, 209n.61

and An Account of the Manners and Customs of the Modern Egyptians 107, 112–17

aggression of women in 108

appeal of to women 127, 206n.35

attendant figures in 110, 111, 112

and British government policy 119, 206n.37

and contemporary perceptions of the harem 112, 127

conventionality of 112

as counterpoint to Gérôme’s use of detail 122

departures of from conventions of harem genre 112, 207n.40

departures of from Lewis’s own, self-reflexive genre 120–1

as engaging in playful dialogue with Lane’s text 117

as example of fitna 117–19

and A Frank Encampment in the Desert of Mount Sinai, 1842 129, 143

gazelle in 111, 112, 205n.22

geometry of 111, 204n.17

Indoor Gossip and Outdoor Gossip as preludes to 108

Lewis as imagined subject of 4

and the mandarah 113–17, 203–4n.11

and Montagu 112, 205n.25

morality and 111, 204n.19

original title of 110, 203n.10

as part or teleological line 126–7

physical and symbolic relationship between furnishings and Egyptian social practice in 111–12, 204–5n.20

“reality” of 111–12

reception and criticism of 122–7, 208n.51, 209n.56, 211n.78

as refutation and frustration of patriarchal systems of power and order 8, 118–22, 127, 129, 143, 206n.35

as related to Lane’s broader artistic mission 117

as related to illustration of the ká’ah in Lane 115–16

row of visitors in 110, 111, 204n.16

“simple” composition of 110, 204n.12

and stereoscopy 123–7

subversive nature of 112, 122, 143, 209n.55

and Thackeray’s Notes of a Journey from Cornhill to Grand Cairo 205–6n.27

transposition of women in 117, 119

unveiled women in 112, 120–1, 207–8n.46, 208n.48

use of detail and color in 110, 121–2, 204n.13, 208–9n.52

and van Eyck 111

and Vanmour 112, 205n.26

and Victorian gender prescriptions 116, 119, 121

Redgrave, Richard and Samuel 32

reflections (see mirrors)

Reform Club 20

Regent Street 16, 17, 159n.29

repetition, artist’s practice of 42, 141–2, 151n.2, 186–7n.17, 187–8n.24, 192n.63, 196n.9, 217n.53

Robert Hay 50, 51

see also Hay, Robert

Roberts, David 13, 15, 47, 52, 138, 142, 156–7n.11, 157n.13, 158n.25, 160n.39, 166n.89, 174n.15, 177n.37, 178n.47, 179n.65, 182n.85, 191n.61, 216n.42

Roget, John Lewis 28

Rome 13, 21, 168n.120

Root, Deborah 56

see also “participant observation”

Rossetti, Dante Gabriel 100, 200n.49

Ecce Ancilla Domini! (the Annunciation) 100, 102

Royal Scottish Academy 27, 80–1, 116, 157–8n.14, 167n.91, 167n.92, 199n.40

Ruskin, John 33, 35–6, 156n.8, 163n.70, 170n.134, 171n.140, 178n.47, 189n.45, 193n.72, 193n.76, 194n.1, 196n.9, 201–2n.67, 203n.6, 204n.18, 215n.31

and concern over fragility of watercolor 35–6, 142, 171n.141, 171n.142

and connection made between

Lewis’s art and that of van Eyck 92, 97

and friendship with Lewis 33, 36, 171n.143

impact of criticism of on artists 36

praise of and reviews of Lewis’s art by 35–6, 77, 92, 94, 97, 103, 135, 139–40, 142, 147–50, 171n.143, 197n.15, 197n.20, 197n.23, 212n.7, 215n.32, 216n.43, 216n.46

and review of A Frank Encampment in the Desert of Mount Sinai, 1842 35–6, 135, 139–41, 142, 147–50, 212n.7, 215n.32, 216n.46, 216n.49, 218n.1

on the unattractiveness and soulless ness of harem women 103, 200–1n.60

Academy Notes 147

Praeterita 77

“Of Queen’s Gardens” 104

Ruskin, John James 36, 171n.143, 196n.9

Said, Edward 6, 56, 58, 59, 122, 153n.19, 184n.106

and Lane 56, 58, 178n.44, 184n.106

see also artistic imperialism; Gérôme, Jean-Léon; Orientalism

Saint Anthony’s Convent 67

Salah-ad-Din 45

Scarce, Jennifer 59, 195n.2

see also clothing: as “a major preoccupation” in the nineteenth century 59

Scheherazade 83

Schor, Naomi 121–2

Reading in Detail: Aesthetics and the Feminine 121

see also detail; The Reception

Seddon, Thomas 47

Seeley 32

selective blindness 97, 199n.39

see also Hhareem Life – Constantinople

self-fashioning 7, 8, 9, 23, 29, 31, 68, 145, 154n.21, 164n.78, 194n.2, 198–9n.33

Byron’s 29, 31

separate spheres, concept of 105, 110, 195n.2, 201n.66

see also Hhareem Life – Constantinople; Indoor Gossip; Outdoor Gossip

sexual space boundaries 118, 206n.33

see also fitna; The Reception

shereef 65, 66, 68, 186n.8

Sinai 54, 133, 140, 148, 149 172n.4, 215n.38, 216n.49

see also Mount Sinai; St. Catherine’s Monastery

slavery in Egypt, reality and history of 119, 190–1n.58

anecdotal story of Lewis’s involvement with 194n.77

slippers

Castlereagh’s adoption of 131

and the harem 198n.31, 198n.32

Lewis’s wearing of 55, 58

and Tanzimat 16–7

see also yellow slippers

Spain 13, 149, 156–7n.11, 157n.12, 157n.13, 157–8n.14, 162n.60, 168n.120

St. Catherine’s Monastery 54, 133, 136–8, 215n.39, 216n.41, 216n.42

as bridge between religions and cultures 138, 216n.42

Castlereagh’s journey to 133, 215n.38

history of 136–7, 215n.39

Lewis’s visit to 54

representation of in other artists’ paintings 138

see also A Frank Encampment in the Desert of Mount Sinai, 1842

St. James’s Park 48

St. Jean d’Acre, Battle of 44

St. Peter’s Cathedral 13

Stephens, F. G. 85, 133, 141–2, 194n.80

stereoscope 124–6, 210n.64, 210n.66, 210n.67, 210n.69, 210n.71, 210n.72, 210n.73, 210n.74

and Indoor Gossip 126

Lewis’s knowledge of 125–6

and The Reception 123, 124, 126, 127

see also London Stereoscopic Company; “reality effect”

stereoscopy (see stereoscope)

Stewart, Frederick William Robert (see Castlereagh, Viscount, Frederick William Robert Stewart)

Stokes, F. 32

Stonhouse, Rev. Charles 145, 218n.3

Study for “The Courtyard of the Coptic Patriarch’s House in Cairo” vi, 8, 61–70, 62, 64, 65, 66, 67, 68, 72, 85, 105, 185n.2, 186n.3, 186n.5, 186n.7, 186n.9, 186n.15, 186–7n.17

and An Account of the Manners and Customs of the Modem Egyptians 61, 65, 66–7, 68, 70, 72, 85

as example of intellectual quandary posed by Lewis 72

and Notes of a Journey from Cornhill to Grand Cairo 61, 69–70, 85

versions of 68, 185n.2, 186–7n.17

and woman at the window 67–70

and “Zuleikah” 69–70, 72

see also intertextuality

Suez 47, 54, 182n.87, 212n.3

Sultan Hassan, Mosque of 45, 176n.27

Surrey 33, 52

cost of living in 52–3

see also “Holme, The”; Walton-on-Thames

Sweetman, John 23, 157–8n.14, 197n.23, 204n.12, 204n.15, 204n.17, 214n.29

Talbotype 126,211n.75

see also photography: Lewis’s knowledge and use of

Tanzimat 26, 152n.13, 166n.90

tarboosh 16, 17, 27, 49, 50, 59, 110, 152n.13, 159n.31, 184–5n.109

see also Tanzimat

Tardrew, Mr. 133, 213n.17

Taylor, F. 35

Tennent, James Emerson 20–1

Thackeray, William Makepeace and adoption of Turkish clothing 23, 23

as art critic 22, 163n.70

as artist 22, 163–4n.71

and business deal with Lewis 21–2

as club member with Lewis 17, 159n.26, 159n.32

and commission from Tennent and P & O 20–1

as “Fat Contributor” 20, 21 162n.54

financial struggles of 21–2, 23, 162–3n.62, 163n.67

and friendship with Lewis 21–2, 159n.26

as “hedonistic” narrator 85

literary style of 16, 159n.28

as “M[ichael] A[ngelo] Titmarsh” 20, 22, 162n.57

personal difficulties of 21, 23

as travel writer 21, 163n.63

as “visible” author 22, 23, 164n.72

WORKS:

“Self-Portrait Smoking a Çubuk” 23, 23

“Zuleikah peeping through the wooden lattices of Lewis’s house” 69, 70

LITERATURE:

The Luck of Barry Lyndon 21, 163n.64

Notes of a Journal from Cornhill to Grand Cairo (see main entry)

Thompson, Jason 56–7, 175n.23, 206n.28

Titian 135, 147

Toledo 16, 159n.29

transcultural 8, 9, 48, 51, 138

see also Lewis, John Frederick: The Egyptian Magician Holding a Séance with Members of the European Community in Cairo; Lewis, John Frederick: “magical” nature of; St. Catherine’s Monastery: as bridge between religions and cultures

Trois Frères 16, 159n.30

“truthiness” 7

see also Colbert, Stephen

Tuilleries 16, 159n.29

turban

distinctive colors of 3, 65, 66–7, 151–2n.6

Lewis’s choice of versus tarboosh 24, 55, 58–9, 185n.110

as sign of woman’s rank or status 91

symbolism of vis-à-vis Tanzimat 27, 50, 152n.13

Turkish dress (see clothing: Turkish)

Turner, A. Richard 19

unveiling (see veil)

van Eyck, Jan

re-discovery of in Victorian period 97, 200n.44

and Ruskin’s association of with Lewis 92, 97, 135, 148

and strategic use of light 111, 204n.18

and strategic use of mirror 97, 99, 200n.45

Portrait of Giovanni (?) Arnolflni and his Wife 97–9, 98, 99, 100, 104

see also Hhareem Life – Constantinople

Van Haaften, Julia 59

see also Frith, Francis: significance of dress of

Vanmour, J. B. 205n.25

Reception in a Turkish Harem (In the Harem) 112, 116, 205n.26

see also The Reception

Vasari 19, 162n.52

veil

conditions of removal in Middle Eastern society, according to Lane 68, 120–1, 186n.16

denotative, connotative, and conceptual associations of in Muslim culture 121, 208n.47

Hunt’s mention of 188n.38

women with in Lewis’s paintings 83, 192n.66, 207–8n.46

women without in Lewis’s paintings 64, 67–8, 80, 83, 112, 120–1, 208n.48

see also The Reception: veiled and unveiled women in

Venice 11, 135, 147, 156n.4, 158n.17, 159n.30

Veronese 135, 147, 149

Victoria, Queen of England 49, 178n.45

Virgin Mary 101, 136, 200n.50

visual imperialism (see artistic imperialism)

Waghorn, Thomas 47, 176n.33

see also Overland Route

Walkley, Giles 34, 168n.118

Wallis, Henry 130

Walton-on-Thames 33, 145, 168n.117, 169n.127, 171n.145, 180n.73, 181n.77, 218n.2

see also “Holme, The”; Surrey

watercolor

fragility of 36–7, 171n.141, 185–6n.2

Lewis’s dissatisfaction with economic returns and perceived inferior status of vis-à-vis oils 35, 157n.14, 170n.134

Lewis’s distinctive use of 11–12, 35, 87–9, 89–90, 92, 135, 196n.11, 214–15n.30

see also bodycolor; Old Watercolour Society

Wild, James William 40, 41–2, 43, 48, 51, 172n.2, 172n.3, 172n.4, 173n.5, 179–80n.66, 187n.18

Ground Plan. […]. /Mr Lewis House/Cairo 40–1, 40, 173n.8

Section of the Mundarah/Mr Lewis House/Cairo 41, 42

Wilkie, David 13, 14, 15, 45, 47, 156n.11, 157n.13, 158n.25, 166–7n.90, 183n.96, 199n.40

rendezvous with Lewis in Turkey 14, 158n.20

His Highness Muhemed Ali, Pacha of Egypt 45, 45, 175n.22, 176n.26

Wilkinson, Sir John Gardner 47, 48–9, 50, 54, 172n.4, 175n.21, 178n.47, 183n.96, 183n.97

diary of 48–9, 178n.50

dress of 49, 56, 183n.96, 185n.114

as imperialist 56–7

and magician “Shekh abd-el-Káder” 49, 50

membership of in clubs and Associations in Cairo 49, 51

as “participant observer” 56, 58

LITERATURE:

Hand-book for Travellers in Egypt 47, 48, 54, 56, 176n.27, 177n.41, 178n.47, 180n.69, 184n.100, 216n.41, 216n.42

see also Phillips, Henry Wyndham: Sir John Gardner Wilkinson (1797–1875), aged 46, in Turkish Dress; Thompson, Jason

William Holman Hunt Re-enacting the Painting of “The Scapegoat” 24, 25, 165n.85

see also Hunt, William Holman

Wilson, Frances 29–31

windows

importance of vis-à-vis Notes of a Journey from Cornhill to Cairo in Study for “The Courtyard of the Coptic Patriarch’s House in Cairo” 67–8, 69–70, 187n.18

Lewis’s predilection for including in compositions 197n.21, 208n.51

roles of in Indoor Gossip and Outdoor Gossip 108, 110

role of in Portrait of Mehmet Ali Pasha 45, 47–8

role of in The Reception 110

significance of in Hhareem Life – Constantinople 92, 94, 97, 101, 102, 103, 104, 107, 112

symbolism of vis-à-vis Victorian women in art 202n.68

See also mashrabiyyah

Winsor & Newton 12

Woolner, Thomas 33–4, 75, 169n.123, 169n.127, 181n.77, 188–9n.41, 195–6n.8, 202n.5, 218n.2, 218n.6

on visit to Lewis’s home in Walton as akin to living the life of the “Arabian Nights” 33–4

yellow slippers 198n.30

in Hhareem Life – Constantinople 4, 94, 95, 96, 97, 99, 100, 103, 104, 105, 112, 120, 122, 139, 199n.34

Youssouf-Bey, Boghos 51

“Zuleikah” 159n.34, 194n.78

in Notes of a Journey from Cornhill to Grand Cairo 17, 37, 53, 69–70, 72, 120, 159n.34

in Study for “The Courtyard of the Coptic Patriarch’s House in Cairo” 69–70, 72

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