Family of origin

Julia Stephen was born in Calcutta, Bengal, then the capital of British India, on February 7, 1846, as Julia Prinsep Jackson. Her parents, Maria (Mia) Theodosia Pattle (1818–1892) and Dr John Jackson (1804–1887),Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. belonged to two Anglo-Indian families,Vorlage:Sfn although Maria's mother, Mrs. Adeline Pattle, was French. Dr Jackson FRCS was the third son of George Jackson and Mary Howard of Bengal, a Cambridge educated physician who spent 25 years (1830–1855) with the Bengal Medical Service and East India Company and a professor at the fledgling Calcutta Medical College.Vorlage:Sfn While Dr Jackson came from humble origins, but had a successful career that brought him into circles of influence, the Pattles moved naturally in the upper echelons of Bengali society.Vorlage:Sfn Maria Pattle was the fifth of eight sisters,Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. famed for their beauty, verve and eccentricity, and including some Bengali blood on their maternal grandmother's (Thérèse Josephe Blin de Grincourt) part. They spoke Hindustani amongst themselves, and were a sensation on their visits to London and Paris.Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. By contrast with the colourful Maria, Dr Jackson was almost invisible, and tolerant of her passion for the poet, Coventry Patmore. Dr Jackson and Maria Pattle were married in Calcutta on January 17, 1837 and had six children, of whom Julia was the youngest, the third of three surviving daughters, Adeline Maria (1837-1881), Mary Louisa (1840-1916) and Julia (see Table of ancestors).Vorlage:Sfn In addition they had two sons George and Corrie (1839–1841) and a daughter Julia (b. 1840), who died in infancy.Vorlage:Sfn The Jacksons were a well educated, literary and artistic proconsular middle-class family.Vorlage:Sfn

Early life (1846–1867)

Julia's two older sisters were sent to England for reasons of health in 1846Vorlage:SfnVorlage:Sfn to stay with her mother's sister Sarah and her husband Henry Prinsep, who had recently leased Little Holland House in Kensington. Julia and her mother joined them in 1848 when Julia was twoVorlage:Sfn Later the family moved to Well Walk, Hampstead. Dr Jackson followed them to England, from India, in 1855, the family living in Hendon at Brent Lodge on Brent Lane, where Julia was home schooled. Julia's sisters, Mary and Adeline were married shortly after. Adeline married Henry Vaughan in 1856 and Mary married Herbert Fisher in 1862,Vorlage:Sfn leaving Julia as her mother's companion and caretaker.Vorlage:Sfn Mrs Jackson's long history of ill health dates from around 1856, and Julia would accompany her on her travels to find remedies. On one of these, where they visited her sister (now Mary Fisher.) in Venice in 1862, she encountered her new brother in law's friend, Herbert Duckworth (1833−1870), whom she would later marry. In 1866 the Jackson's moved to Saxonbury, in Frant, near Tunbridge Wells. There she would meet the agnostic biographer Leslie Stephen (1832–1904) later that year, shortly before his engagement to Minny Thackeray. Stephen would eventually become her second husband. He described Saxonbury as “a good country house with a pleasant garden and two or three fields”.Vorlage:Sfn

The Pattle sisters and their families (see Pattle family tree) provided important connections for Julia and her mother. As Quentin Bell, Julia's grandson, described it, they had "a certain awareness of social possibilities".Vorlage:Sfn Sarah Pattle (1816-1887), had married Henry Thoby Prinsep (1792–1878), an administrator with the East India Company, and their home at Little Holland House was an important intellectual centre and influence on Julia, that she would later describe to her children as "bohemian".Vorlage:Sfn Little Holland House, a farmhouse on the Holland estate, that served as the dower house, was then on the outskirts of London, and nicknamed the "Enchanted Palace", where Sarah Prinsep ran the equivalent of a French salon. Quentin Bell states that Julia was "largely brought up in" Little Holland House.Vorlage:Sfn The house was also frequented by Leslie Stephen. One of the Prinsep's sons, another of Julia's many cousins, was the artist, Valentine Cameron Prinsep (1838–1904).Vorlage:Sfn Another sister was Virginia Pattle (1827-1910), who married (1850) Lord Charles Eastnor, later the third Earl Somers (1819–1883). Their eldest daughter (Julia's cousin) was Lady Isabella Caroline Somers-Cocks (1851–1921), the temperance leader, while the younger, Lady Adeline Marie (1852–1920) became the Duchess of Bedford. Julia and her mother were frequent guests at Eastnor Castle, the home of Lord Charles and Lady Virginia. Another maternal aunt, and also her godmother, Julia Margaret Pattle (Julia Margaret Cameron 1815–1879), was a celebrated photographer, who took many photographs of her niece, and created a photograph album for her sister, Maria in 1863 (the Mia Album).Vorlage:SfnVorlage:Sfn

Sarah Prinsep, and her sisters, were adept at making great men feel at ease, and they frequented her house. There one might find Disraeli, Carlyle, Tennyson and Rossetti partaking of tea and croquet, while the painter George Frederic Watts (1817–1904) lived and worked there, as did for a while Edward Burne-Jones (1833–1898). It was at Little Holland House that Julia came to the attention of these Pre-Raphaelite painters and also William Holman Hunt (1827–1910), all of whom she modelled for (see Gallery I) as well as Frederick Leighton (1830–1896). She was also introduced to writers such as William Thackeray (1828–1909) and George Meredith (1828–1909), and formed a friendship with Thackeray's daughters, Anne (1837–1919) and Harriet (1840–1875).Vorlage:Sfn Julia was much admired, her mother observing that every man who met her in a railway carriage fell in love with her,Vorlage:Sfn and indeed everyone did love her.Vorlage:Sfn Leonard Woolf described her as "one of the most beautiful women in England". In 1864, at the age of 18, she declined marriage proposals from both Hunt and the sculptor, Thomas Woolner, another Pre-Raphaelite,Vorlage:Sfn who was devastated when she married three years later. Leslie Stephen remarked that Hunt only married his second wife, Edith Waugh, because she resembled Julia.Vorlage:Sfn Another sculptor for whom she modelled, and who was enamoured with her, was Carlo Marochetti (1805–1867). She was his model for the memorial to the young Princess Elizabeth (daughter of Charles I),Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. when she was 10 years old, and he created a bust of Julia Jackson that is now at the Charleston Farmhouse, in Sussex. Throughout her life, she had no lack of admirers. These included the U.S. Ambassador, Russell Lowell.Vorlage:Sfn and Henry James. At 5' 6" she was tall for a Victorian woman and had large, practical hands, deriding "the lovely filbert nails which are the pride of many",Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. shunning vanity, fashion and afectation.Vorlage:Sfn

Marriage

Relationships with family and household

Much of what is known about Julia Stephen comes from the viewpoint of her husband, Leslie Stephen, and her daughter, Virginia Woolf, although the latter had only just turned thirteen when her mother died. Woolf, who stated that "for we think back through our mothers if we are women", invoked the image of her mother repeatedly throughout her life in her diary,Vorlage:Sfn her lettersVorlage:Sfn and a number of her autobiographical essays, including Reminiscences (1908),Vorlage:Sfn 22 Hyde Park Gate (1921)Vorlage:Sfn and A Sketch of the Past (1940),Vorlage:Sfn frequently evoking her memories with the words "I see her ...".Vorlage:Sfn She also alludes to her childhood in her fictional writing. In To The Lighthouse (1927)Vorlage:Sfn the artist, Lily Briscoe, attempts to paint Mrs Ramsay, a complex character based on Julia Stephen, and repeatedly comments on the fact that she was "astonishingly beautiful". Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there.Vorlage:SfnVorlage:Sfn However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure becomes more nuanced and filled in.Vorlage:Sfn

As the youngest daughter, and last to marry, Julia was her mother's favourite daughter, in part due to her constant care of her mother who had many needs, and little time for maternal affection. With the premature death in 1881 of Maria Jackson's eldest daughter Adeline at 44, followed by that of her husband in 1887, she became increasingly hypochondriacal and an increasing demand on Julia's resources and necessitated her making frequent visits to SussexDie Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. as well as caring for her mother in her Hyde Park Gate Home. Leslie Stephen writes about Julia "the noblest woman present" in tones of reverence in his Mausoleum Book,Vorlage:Sfn written for the children after her death. In that he was reminded of what was written about the Carlyles, and like Thomas Carlyle embarked on memorialising his wife.Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht.Vorlage:Sfn It was evident that he (and he was not alone in this) regarded her as a saint, indeed as an agnostic, he had already sanctified her prior to their marriage, informing her that she replaced the Blessed Virgin. He describes her appearance as one in which her "beauty was of a kind which seems to imply—as most certainly did accompany—equal beauty of soul, refinement nobility, and tenderness of character". It is evident that she lived a life devoted both to her family and to the needs of others. Woolf drew a sharp distinction between her mother's work and "the mischievous philanthropy which other women practise so complacently and often with such disastrous results". She describes her degree of sympathy, engagement, judgement and decisiveness, and her sense of both irony and the absurd. She recalls trying to recapture "the clear round voice, or the sight of the beautiful figure, so upright and distinct, in its long shabby cloak, with the head held at a certain angle, so that the eye looked straight out at you".Vorlage:Sfn Julia's many domestic duties included sharing the education of the children with her husband. The girls were educated to a degree at home, while the boys were sent to private boy's boarding schools and then university, as was the custom of the time. There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French and History, while Leslie taught them mathematics. They also received piano lessons.

Julia dealt with her husband's depressions and his need for attention, which created resentment in her children, boosted his self-confidence, nursed her parents in their final illness, and had many commitments outside the home that would eventually wear her down. Her frequent absences and the demands of her husband instilled a sense of insecurity in her children that had a lasting effect on her daughters. Amongst her family commitments, she cared for her mother during her long period of ill health, nursed her uncle Henry Prinsep when he was dying in 1878, and her sister Adeline who died in 1881. Leslie Stephen was also prone to bouts of ill health, suffering a breakdown from overwork in 1888–1889. Leslie Stephen describes how his constant self-deprecation, was intended to elicit Julia's sympathy and attention. In considering the demands on her mother, Woolf described her father as "fifteen years her elder, difficult, exacting, dependent on her" and reflected that this was at the expense of the amount of attention she could spare her young children, "a general presence rather than a particular person to a child",Vorlage:Sfn reflecting that she rarely ever spent a moment alone with her mother, "someone was always interrupting". Woolf was ambivalent about all this, yet eager to separate herself from this model of utter selflessness. She describes it as "boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by"Vorlage:Sfn At the same time she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness, as Woolf wrote "Stella was always the beautiful attendant handmaid ... making it the central duty of her life".Vorlage:Sfn At the same time, Julia's relationship with Stella, who idolised her, was frequently problematic. As Julia confided to her husband, she was especially hard on her eldest daughter because she considered her part of herself.Vorlage:Sfn

Julia greatly admired her husband's intellect, and although she knew her own mind, thought little of her own. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's". She believed with certainty in her role as the centre of her activities, and the person who held everything together.Vorlage:Sfn Of her children, while Virginia identified most closely with her father, Vanessa stated her mother was her favourite parent.Vorlage:Sfn Virginia quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing. Against this background of over committed and distant parents, suggestions that this was a dysfunctional family must be evaluated. These include evidence of sexual abuse of the Stephen girls by their older Duckworth stepbrothers, and by their cousin, James Kenneth Stephen (1859–1892), at least of Stella.Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. Laura is also thought to have been abused.Vorlage:Sfn The most graphic account is by Louise DeSalvo,Vorlage:Sfn but other authors and reviewers have been more cautious.Vorlage:SfnVorlage:Sfn Other issues the children had to deal with was Leslie Stephen's temper, Woolf describing him as "the tyrant father".Vorlage:Sfn

Julia's grandson, Quentin Bell (1910–1996) describes her as saintly, with a certain gravitas derived from sorrow, playful and tender with her children, sympathetic to the poor and sick or otherwise afflicted, and always called upon at times of need as a ministering angel. As he adds, "because of this one cannot quite believe in her".Vorlage:Sfn Woolf's more balanced assessment seems more realistic than her father's idealised version, but her family's assessments also need to be balanced by the picture that emerges from Julia's own writings. Ultimately the demands on her selflessness and her tireless efforts on behalf of others became too much and started to take their toll.Vorlage:Sfn Like her husband (and eventually her daughters), she suffered from depression, and has been described as "haunted, worn down and beautiful" as captured, somewhat controversially, by Rothenstein's drawings of her in the 1890s, shown here. Woolf. like all the family, greatly admired her mother's beauty, and so strong was her conviction she could not accept what Rothenstein depicted, "my mother was more beautiful than you show her".Vorlage:Sfn

Running a large household, in a towering Victorian mansion and with many commitments outside the home necessitated the supervision of the family finances and management of a large number of domestic servants, as would be common then,Vorlage:SfnVorlage:Sfn and indeed indispensable in such a lifestyle.Vorlage:Sfn This would be the subject of two of her essays. So strong were some of these ties, that Sophie Farrell, who came to work at 22 Hyde Park Gate in 1886, would continue to work for various members of the extended Stephen family for the rest of her life.Vorlage:Sfn Woolf provides us with a picture of her mother "adding up the weekly books".Vorlage:Sfn

Death

On May 5, 1895, Julia died at her home, of heart failure brought on by influenza at the age of 49. She left her husband with four young children aged 11 to 15 (her children by her first marriage being adults, although Stella, then 26, took over her mother's duties till she was married two years laterVorlage:Sfn). Julia was buried on May 8 at Highgate Cemetery, where her husband, daughter Stella and son Thoby were also later interred.Vorlage:SfnVorlage:Sfn Julia's wealth at her death is listed as ₤5483 17s 1d.Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht.Vorlage:Sfn

Artist's model

Julia Stephens is best known for being a model, not only of Pre-Raphaelite painters, but also her photographer aunt, Julia Margaret Cameron. Julia Stephen was Julia Margaret Cameron's favourite and most trusted and mutable model, (see Gallery II) documenting her moods and meditations. Cameron was fascinated to the degree of obsession by Julia, with over 50 portraits,Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. more than any other subject. Julia's legacy is the image Cameron portrayed in her earlier days, the fragile ethereal figure with large soulful eyes and long wild hair. Most of Cameron's photographs of Julia were taken between 1864 and 1875, including a series of profiles in the spring of 1867, two of which were during her period of engagement (plates 310–311), in which Cameron portrayed Julia's cool puritan beauty as a metaphor for the symbolic place of marriage, that Cameron called "the real nobility I prize above all things". Here Cameron frames the bust with emphatic side lighting that accentuates the tautness in the swanlike neck and the strength in the head, indicating heroism and stateliness as befits a girl on the verge of matrimony. By placing the subject facing into the light, the photographer illuminates her and suggests a forthcoming enlightenment.

Cameron frequently used a soft focus such as Julia Duckworth 1867 (plate 311) here.Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. One of these portraits she titled My Favorite Picture of all my works. In this her eyes, are downcast and averted from the lens, a more sentimental effect than the dramatic frontal view of My niece Julia full face shown here. In this portrait, the subject appears to stare assertively at the photographer, as if saying: "I am, like you, my own woman."Vorlage:Sfn These are in sharp contrast to the series taken during her long widowhood and mourning for her first husband (1870–1878), with its gaunt pallid facial features. Again, Cameron draws on another Victorian symbol, this time the tragic heroine whose beauty is consumed in grief.

Social activism and philanthropy

In addition to her tireless contributions to running the Stephen household, and attending to the needs of her relatives, she worked to support friends and supplicants. She had a strong sense of social justice, travelling around London by bus, nursing the sick in hospitals and workhouses. She would later write about her nursing experience in her Notes from Sick Rooms (1883).Vorlage:Sfn This is a discussion of good nursing practices, demonstrating fine attention to detail. A notable passage is her description of the misery caused by bread crumbs in the bed. Her work was not only practical but she was also an advocate, for instance publishing a letter of protest on behalf of the inmates at St. George's Union Workhouse in Fulham "for giving in to the temperance movement and cutting off the half-pint of beer". This ration allocated to the pauper women there had been removed at the insistence of the temperance campaigners (Pall Mall Gazette, 4 October 1879). This was an institution she visited regularly.Vorlage:SfnDie Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht. She also wrote an impassioned defence of agnostic women (Agnostic Women, September 8, 1880), arguing against claims that agnosticism was incompatible with spirituality and philanthropy (see Quotations). She also drew on her experience of ministering to the sick and dying in making these arguments.Vorlage:Sfn

At home, Virginia Woolf describes how Julia used one side of the drawing room for dispensing advice and consolation, the "angel in the house".Die Verwendung dieser Vorlage ist in der deutschsprachigen Wikipedia unerwünscht.Vorlage:SfnVorlage:Sfn

Views

Julia held firm views on the role of women in society. She was not a feminist, and has been described as an antifeminist,Vorlage:Sfn lending her name to the anti-suffrage movement in 1889. The novelist Mary Ward (1851–1920) and the Oxford Liberal set collected the names of the most prominent intellectual aristocracy, including Julia's friend Octavia Hill (1838–1912), and nearly a hundred other women to sign a petition "An Appeal Against Female Suffrage" in Nineteenth Century in June of that year. This earned her a rebuke from George Meredith, writing facetiously "for it would be to accuse you of the fatuousness of a Liberal Unionist to charge the true Mrs Leslie with this irrational obstructiveness", pretending that the signature must belong to another woman of the same name. Rather, Julia Stephen believed that women had their own role and their own role models. She referred her daughters to Florence Nightingale (1820–1910), Octavia Hill and Mary Ward as models.Vorlage:Sfn Her views on the role of women in society are firmly laid out in her Agnostic Women, namely that while men and women may operate in separate spheres, their work is of equal value. However, Julia's views on women and feminism need to be evaluated within the historical and cultural context in which she lived, being thoroughly an upper middle class Victorian woman.Vorlage:SfnVorlage:Sfn Nor did her views preclude friendship with passionate advocates for women's rights and suffrage, such as the actress Elizabeth Robins. Robins recalls that her Madonna like face was somewhat misleading "she was a mixture of the Madonna and a woman of the world"Vorlage:Sfn and that when she came up with something more worldly, it was "so unexpected from that Madonna face, one thought it vicious". Julia Stephens was, in most respects, a conventional Victorian lady. She defended the hierarchical system of the live-in servants, the need to keep a constant watch over them, and believed a "strong bond" existed between the mistress of the house and those who serve. It was this conventionality that Woolf consciously separated herself from, in terms of a model of womanhood, with the Victorian expectations of social conformity, that Woolf described as "a machine into which our rebellious bodies were inserted".Vorlage:Sfn

Publications and other writings

Julia Stephen's literary canon consists of a book, a collection of children's stories and a number of unpublished essays. The first was a small volume, entitled Notes from Sick Rooms, published by her husbands publisher, Smith, Elder & Co. in October 1883, an account of her nursing experience together with a detailed manual of instruction. It was republished in 1980Vorlage:Sfn and later published in conjunction with Virginia Woolf's On Being Ill (1926) in 2012.Vorlage:SfnVorlage:Sfn The second is a collection of stories she told to her children, entitled Stories for Children and written between 1880 and 1884. Her stories tended to promote the value of family life and the importance of being kind to animals. Sometimes, such as in Cat's Meat, they reflect the tensions in Julia's own life. She emerges from these writings as decisive, conservative, and pragmatic,Vorlage:Sfn with a wit that some considered almost shocking. Although she was unsuccessful in getting these published in her lifetime, they were eventually published, together with Notes from Sick Rooms and a collection of her essays, which had been in the possession of Quentin Bell, in 1993.Vorlage:Sfn She also wrote the biographical entry for Julia Margaret Cameron in the Dictionary of National Biography of which her husband was the first editor (1885–1891),Vorlage:SfnVorlage:Sfn one of the very few biographies of women to be found in this work.Vorlage:Sfn Among her essays was Agnostic women defending her philanthropy as an agnostic (see Social activism and Views), and two other essays addressing the management of households, and in particular servants.

Quotations

Vorlage:Quote

Virginia Woolf

The intense scrutiny of Virginia Woolf's literary output (see Bibliography) has inevitably led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter.Vorlage:SfnVorlage:Sfn Woolf states that "my first memory, and in fact it is the most important of all my memories"Vorlage:Sfn is of her mother. Her memories of her mother are memories of an obsessionVorlage:Sfn and she suffered her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children".Vorlage:Sfn Woolf described her mother as an "invisible presence" in her life, and Rosenman argues that the mother-daughter relationships is a constant in Woolf's writing.Vorlage:Sfn She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death.Vorlage:Sfn Julia's influence and memory pervades Woolf's life and work, "she has haunted me", she wrote.Vorlage:Sfn

Books and theses

• Quentin Bell: Elders and Betters. Pimlico, 1997, ISBN 978-0-7126-7396-9 (google.com). 
• Vanessa Bell: The Selected Letters of Vanessa Bell. Hrsg.: Regina Marler. Pantheon Books, 1993, ISBN 978-0-679-41939-6 (google.com). 
  • Regina Marler: Biographical introduction. S. xvii–xviii. 
• Mary Bennett: Who was Dr Jackson?: Two Calcutta Families, 1830-1855. BACSA, 2002, ISBN 978-0-907799-78-8 (google.com). 
  • Martha S. Vogeler: Bennett, Mary. Who Was Dr. Jackson? Two Calcutta Families: 1830–1855. London: British Association for Cemeteries in South Asia. 2002. Pp. xv, 116. £12. ISBN 0-90779-9-78-71. In: Albion. 36. Jahrgang, Nr. 2, 11. Juli 2014, S. 388–389, doi:10.2307/4054289, JSTOR:4054289. Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite journal): "type"
• Bernard Burke: A Genealogical and Heraldic Dictionary of the Landed Gentry of Great Britain and Ireland. Harrison, London 1858 (google.com). 
• Bernard Burke: A Genealogical and Heraldic History of the Landed Gentry of Great Britain & Ireland. Harrison, London 1894 (google.com). }
• Mary Ann Caws, Sarah Bird Wright: Bloomsbury and France: Art and Friends. Oxford University Press, 1999, ISBN 978-0-19-802781-2 (google.com). 
• David Cunningham, Andrew Fisher, Sas Mays (Hrsg.): Photography and Literature in the Twentieth Century. Cambridge Scholars Press, 2005, ISBN 978-1-904303-46-6 (google.com). 
• Sara Munson Deats, Lagretta Tallent Lenker (Hrsg.): Aging and Identity: A Humanities Perspective. Greenwood Publishing Group, 1999, ISBN 978-0-275-96479-5 (google.com). 
• Ian AC Dejardin (Hrsg.): Vanessa Bell. Philip Wilson Publishers, 2017, ISBN 978-1-78130-051-0 (google.com). 
• Jane Dunn: A Very Close Conspiracy: Vanessa Bell and Virginia Woolf. Random House, 1990, ISBN 978-1-4464-3465-9 (google.com).  (additional excerpts)
• Evelyne Ender: Architexts of Memory: Literature, Science, and Autobiography. University of Michigan Press, 2005, ISBN 0-472-03104-X (google.com). 
• Vorlage:Cite thesis
• Winifred Gérin: Anne Thackeray Ritchie: a biography. Oxford University Press, 1981, ISBN 978-0-19-812664-5 (google.com). 
• Marianne Hirsch: The Mother / Daughter Plot: Narrative, Psychoanalysis, Feminism. Indiana University Press, 1989, ISBN 0-253-11575-2 (google.com). 
• Peter Iver Kaufman, Kristin M.S. Bezio (Hrsg.): Cultural Icons and Cultural Leadership. Edward Elgar Publishing, 2017, ISBN 978-1-78643-806-5 (google.com). 
• Rosie Llewellyn-Jones: The Louisa Parlby Album: Watercolours from Murshidabad 1795–1803. Francesca Galloway, London 2017, ISBN 978-0-9569147-6-7 (francescagalloway.com [PDF]). Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite book): "type"
• Gill Lowe: Versions of Julia: five biographical constructions of Julia Stephen. Cecil Woolf, London 2005, ISBN 978-1-897967-14-0 (google.com). 
  • Marion Dell: Versions of Julia: Five Biographical Constructions of Julia Stephen,. In: The Virginia Woolf Bulletin. Nr. 21, Januar 2006, S. 56–58. Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite journal): "type"
• Hilary Newman: Laura Stephen: a memoir. Cecil Woolf, London 2006, ISBN 978-1-897967-39-3 (google.com). 
  • Celia Marshik: Laura Stephen: A Memoir / Julian Bell, the Violent Pacifist / Conversation with Julian Fry / Roger Fry, Apostle of Good Taste, and Venice. In: Virginia Woolf Miscellany. Nr. 74. Southern Connecticut State University, S. 30 (wordpress.com [PDF]). Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite journal): "type" Fehler beim Aufruf der Vorlage:Cite journal: Der Parameter 'date' hat ungültigen Wert.
• Phyllis Rose: Parallel Lives: Five Victorian Marriages. Vintage Books, 1983, ISBN 978-0-394-72580-2 (google.com). 
• Victoria Rosner: Modernism and the Architecture of Private Life. Columbia University Press, 2008, ISBN 978-0-231-13305-0 (google.com). 
• Victoria Rosner (Hrsg.): The Cambridge Companion to the Bloomsbury Group. Cambridge University Press, 2014, ISBN 978-1-107-01824-2 (google.com). 
• Survey of London. Vol. 38. South Kensington Museums Area. Institute of Historical Research (British History Online), London 1975, ISBN 978-0-485-48238-6 (british-history.ac.uk). Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite book): "editor1-first; editor1-last" see also Survey of London
• Virginia Stephen, Vanessa Stephen, Thoby Stephen: Hyde Park Gate News: The Stephen Family Newspaper. Hesperus Press, 2005, ISBN 978-1-84391-701-4 (google.com). Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite book): "authorlink2; authorlink1; authorlink3"
  • 'Hyde Park Gate News', a magazine by Virginia Woolf and Vanessa Bell. In: Collection items. British Library, abgerufen am 9. Januar 2018. Vorlage:Cite web/temporär
• Gillian Thomas: A Position to Command Respect: Women and the Eleventh Britannica. Scarecrow Press, 1992, ISBN 978-0-8108-2567-3 (google.com). 
• Christopher Tolley: Domestic Biography: The Legacy of Evangelicalism in Four Nineteenth-century Families. Clarendon Press, 1997, ISBN 978-0-19-820651-4 (google.com). 

Chapters and contributions

• Joanne Trautmann Banks: The Aging Artist The Sad but Instructive Case of Virginia Woolf. S. 115–126 (google.com). , in Vorlage:Harvtxt
• Ana Clara Birrento: Virginia Woolf: Moments of Being. S. 61–72 (uevora.pt [PDF]). , in Vorlage:Harvtxt
• Kate Flint: Victorian Roots: The sense of the past in Mrs Dalloway and To the Lighthouse. S. 46–59. , in Vorlage:Harvtxt
• Diane F Gillespie: The elusive Julia Stephen. S. 1–28. , in Vorlage:Harvtxt
• Maggie Humm: Memory and photography: The photo albums of Virginia Woolf. S. 42–51 (google.com). , in Vorlage:Harvtxt (additional excerpts)
• Sarah Milroy: Some rough eloquence. S. 25–39. , in Vorlage:Harvtxt
• Katherine Mullin: Victorian Bloomsbury. S. 19–32. , in Vorlage:Harvtxt
• Vesna Goldsworthy: The Bloomsbury Narcissus. S. 183–197. , in Vorlage:Harvtxt
• Stephanie Paulsell: Family resemblances: religion around Virginia Woolf. S. 81–102 (google.ca). , in Vorlage:Harvtxt
• Mark Hussey: Biographical approaches. S. 83–97. , in Vorlage:Harvtxt
• Beth Rigel Daugherty: Feminist approaches. S. 98–124. , in Vorlage:Harvtxt
• Makiko Minow-Pinkney: Psychonalytic approaches. S. 60–82. , in Vorlage:Harvtxt
• Leonard Woolf: Virginia Woolf: Writer and personality. In: The Listener. 4. März 1965, S. 327–328 (google.com). , reprinted in Vorlage:Harvnb

Articles

• Vorlage:Cite ODNB
• Quentin Bell: The Mausoleum Book. In: A Review of English Literature. 6. Jahrgang, Nr. 1, 1965, S. 9–18. 
• Christopher C. Dahl: Virginia Woolf's "Moments of Being" and Autobiographical Tradition in the Stephen Family. In: Journal of Modern Literature. 10. Jahrgang, Nr. 2, 1983, S. 175–196 (jstor.org). Fehler in Vorlage:Literatur – *** Parameterkonflikt: Statt URL sollte etwas wie 'JSTOR=' angegeben werden
• Vorlage:Cite ODNB
• Molly Hite: Virginia Woolf’s Two Bodies. In: Genders 1998-2013. University of Colorado Boulder, 10. Januar 2000 (colorado.edu). 
• Kathryn Hughes: The Finger: A Handbook by Angus Trumble – review. In: The Guardian, 20 Nov 2010. Abgerufen im 30 January 2018.Vorlage:Cite news/temporär
• Maggie Humm: The Stephen sisters as young photographers. In: Canvas. Nr. 15. Charleston Trust, Firle, East Sussex 2006 (org.uk). 
• Koutsantoni, Madeleine Oakley: Hypothesis of Autism and Psychosis in the Case of Laura Makepeace Stephen. In: Disability Studies. 4. Jahrgang, Nr. 3, 2. April 2014, doi:10.2139/ssrn.2418709 (ssrn.com [PDF]). 
• Judith Thurman: Angels and Instincts: A Julia Margaret Cameron retrospective. In: The New Yorker. 17. Februar 2003 (newyorker.com). 

Websites

• Kimberly Eve: Victorian Musings. 19. November 2017, abgerufen am 26. Dezember 2017. Vorlage:Cite web/temporär
• Andre Gerard: Patremoir Press. 2018, abgerufen am 2. Januar 2018. Vorlage:Cite web/temporär
• Christina Lee: A Beautiful Mind – Laura Makepeace Stephen and the Earlswood Asylum medical archives. 15. Oktober 2015, abgerufen am 21. Januar 2018. Vorlage:Cite web/temporär
• Lilia Melani: The Angel in the House. In: William Makepeace Thackeray. Department of English, Brooklyn College, City University of New York, 2. März 2011, abgerufen am 29. Januar 2018. Vorlage:Cite web/temporär
• Victoria Olsen: Looking for Laura. In: Open Letters Monthly. 1. Februar 2012, abgerufen am 20. Januar 2018. Vorlage:Cite web/temporär
• Phyllis Richardson: Tales from Talland House. In: Unbound. 24. März 2015, abgerufen am 1. Januar 2018. Vorlage:Cite web/temporär
• Victorian Web: Funerary sculpture: Sir Leslie Stephen. In: The Victorian Web. 29. September 2014, abgerufen am 15. Dezember 2017. Vorlage:Cite web/temporär
• Androom Archives. 2017, abgerufen am 19. Dezember 2017. Vorlage:Cite web/temporär
• Find a will. Index to wills and administrations (1858-1995). In: Calendars of the Grants of Probate and Letters of Administration. The National Archives, abgerufen am 19. Dezember 2017. Vorlage:Cite web/temporär

Genealogy

• Darryl Lundy: The Peerage. 2017, abgerufen am 19. Dezember 2017. Vorlage:Cite web/temporär
• Nikki Vine: Nikki's Family History and Wells Local History Pages. Abgerufen am 6. Januar 2018. Vorlage:Cite web/temporär
• Dudley Wood: Family Histories of Wood of Kent, Bone of Hampshire, Lloyd of Cheshire, Thompson of West Yorkshire. 3. November 2017, abgerufen am 30. Dezember 2017. Vorlage:Cite web/temporär
• Relatives of Virginia Woolf. 22. März 2011, abgerufen am 15. Dezember 2017. Vorlage:Cite web/temporär, in Vorlage:Harvtxt
  • Julia Prinsep Stephen (1846 - 1895): Wife/mother/writer/volunteer. Smith College; abgerufen im 1. Januar 1 Vorlage:Cite web/temporär, in Vorlage:Harvtxt
• Geni. 2018, abgerufen am 2. Januar 2018. Vorlage:Cite web/temporär

Virginia Woolf

• Rebecca Beatrice Brooks: The Virginia Woolf Blog. 2018, abgerufen am 19. Januar 2018. Vorlage:Cite web/temporär
  • Rebecca Beatrice Brooks: Virginia Woolf's Family. In: The Virginia Woolf Blog. 2018, abgerufen am 19. Januar 2018. Vorlage:Cite web/temporär
• Woolf Online: A digital archive of Virginia Woolf's To the Lighthouse (1927). Society of Authors, 2018, abgerufen am 7. Januar 2018. Fehler bei Vorlage * Parametername unbekannt (Vorlage:Cite web): "editor-link1; editor-first2; editor-first1; editor-last2; editor-last1"Vorlage:Cite web/temporär
• Dinah Roe: Virginia Woolf and Holman Hunt go To The Lighthouse. In: Pre-Raphaelites in the city. 2011, abgerufen am 25. Dezember 2017. Vorlage:Cite web/temporär
• Robert Wilkes: Virginia Woolf and the Victorian Art World. In: Pre-Raphaelite Reflections. 5. August 2014, abgerufen am 16. Dezember 2017. Vorlage:Cite web/temporär
• Woolf, Creativity and Madness: From Freud to FMRI. In: Smith College Libraries: Online exhibits. Smith College Libraries, abgerufen am 15. Dezember 2017. Vorlage:Cite web/temporär
• Virginia Woolf Society of Great Britain. Abgerufen am 26. Dezember 2017. Vorlage:Cite web/temporär

Images

• Karen V. Kukil: Woolf in the World: A Pen and a Press of Her Own. Smith College, 2003, abgerufen am 19. Dezember 2017. Vorlage:Cite web/temporär
• Karen V. Kukil: Leslie Stephen's Photograph Album. Smith College, 2011, abgerufen am 19. Dezember 2017. Vorlage:Cite web/temporär
• Anna Tietze: Abe Bailey Biography. In: Abe Bailey Collection. 2008; abgerufen im 1. Januar 1. Vorlage:Cite web/temporär
  • Ungültig: 38BS in Vorlage:Anker38 Bryanston Square - Exterior. Abgerufen im 1. Januar 1 Vorlage:Cite web/temporär Fehler beim Aufruf der Vorlage:Cite web: Der Parameter Datum hat ungültigen Wert.
  • Ungültig: 38BS in Vorlage:Anker38 Bryanston Square - Interiors 1908. In: Historic England. Abgerufen im 1. Januar 1 Vorlage:Cite web/temporär
• Virginia Woolf: Virginia Woolf Monk's House photographs, ca. 1867-1967 (MS Thr 564). Harvard Theatre Collection, Houghton Library, Harvard Library, 1983, abgerufen am 31. Dezember 2017. Vorlage:Cite web/temporär
  • Virginia Woolf Monk's House photographs, ca. 1860-1970. Selections from MS Thr 564. Abgerufen im 1. Januar 1 Vorlage:Cite web/temporär
  • Virginia Woolf Monk's House photograph album (MH-4), 1890-1947 (inclusive), 1923-1939 (bulk). MS Thr 651. Abgerufen im 1. Januar 1 Vorlage:Cite web/temporär
• Stephen Family Photo Album. Abgerufen am 7. Januar 2018. Vorlage:Cite web/temporär, in Vorlage:Harvtxt
• Patti Smith: Vanessa Bell’s Library, Duncan Grant’s painting of Vanessa Bell in her Mother’s Dress. Robert Miller Gallery, 2006, abgerufen am 9. Januar 2018. Vorlage:Cite web/temporär
• Virginia Woolf tries on her mother's Victorian dress, May 1926. Vogue, Mai 2006, abgerufen am 9. Januar 2018. Vorlage:Cite web/temporär
• Ungültig: 22HPG in Vorlage:Anker22 Hyde Park Gate. In: Walking London one postcode at a time: SW7: Beyond our (South) Ken. 16. August 2013, abgerufen am 9. Januar 2018. Vorlage:Cite web/temporär
• Ungültig: 22HPGmap in Vorlage:AnkerMap of location of 22 Hyde Park Gate. In: Google Earth. Abgerufen am 23. Januar 2018. Vorlage:Cite web/temporär

Collections

• Julia Margaret Cameron: Mrs. Herbert Duckworth. The Metropolitan Museum of Art, 2017, abgerufen am 2. Januar 2018. Vorlage:Cite web/temporär
• Julia Margaret Cameron: Julia Jackson. Victoria and Albert Museum, 1864, abgerufen am 10. Januar 2018. Vorlage:Cite web/temporär
• Julia Margaret Cameron: Julia Margaret Cameron. In: Artists. J Paul Getty Museum, abgerufen am 13. Januar 2018. Vorlage:Cite web/temporär
• George Frederic Watts: Julia Stephen, 1870. In: Art UK. Arts Council England, abgerufen am 17. Dezember 2017. Vorlage:Cite web/temporär
• Vanessa Bell: The Red Dress 1929. In: Art UK. Arts Council England, abgerufen am 10. Januar 2018. Vorlage:Cite web/temporär
• Julia Prinsep Stephen (née Jackson, formerly Mrs Duckworth) (1846-1895), Beauty and philanthropist; former wife of Herbert Duckworth, and later wife of Sir Leslie Stephen; mother of Virginia Woolf and Vanessa Bell. National Portrait Gallery, abgerufen am 24. Dezember 2017. Vorlage:Cite web/temporär

Bibliograpy notes

Vorlage:Reflist

Bibliography references

Vorlage:Reflist

Vorlage:Refend