'So like a shatter'd Column lay the King' thumbnail 1
Not currently on display at the V&A

'So like a shatter'd Column lay the King'

Photograph
ca. 1875 (photographed)
Artist/Maker
Place Of Origin

In 1874, Alfred Tennyson, the Poet Laureate, invited Julia Margaret Cameron to make photographic illustrations to his Idylls of the King. This was a series of narrative poems based on the legends of King Arthur. After her large photographs were published as small, wood-cut copies, Cameron decided to produce an edition illustrated by original photographic prints. She accompanied these with extracts from the poems written in her own hand and printed in facsimile. She claimed to have made as many as 245 exposures to arrive at the 25 she finally published in two volumes.

This is by far the most theatrical of Cameron’s illustrations to the Idylls. The wounded King Arthur is taken by boat from Camelot. Cameron used fabric to create the illusion of waves and mist, and even drew a moon on the negative in the upper left corner.


object details
Categories
Object Type
Additional Titles
  • The Passing of Arthur (assigned by artist)
  • Idylls of the King and other Poems, vol. 2 (series title)
Materials and Techniques
Albumen print from wet collodion glass negative
Brief Description
Photograph by Julia Margaret Cameron, 'The Passing of Arthur' (sitters Mary Hillier, William Warder, Mrs. Hardinge, unknown woman, unknown hooded figures), albumen print, ca. 1875
Physical Description
A photograph of a group of people (Mary Hillier, William Warder, Mrs. Hardinge and unknown woman) in a boat. Warder is laying down while two of the woman are leaning over him. The third woman is standing in a cloak looking downward. Hooded figures stand in the background.
Dimensions
  • Image height: 340mm
  • Image width: 270mm
  • Mount height: 430mm
  • Mount width: 330mm
Style
Marks and Inscriptions
"From Life Registered Photograph Copy Right" in ink lower left verso of mount. "The Passing of Arthur" in ink bottom centre verso of mount. "Julia Margaret Cameron" in ink bottom right verso of mount. Blindstamp: "VICTORIA AND ALBERT MUSEUM LIBRARY" top centre verso of mount.
Gallery Label
  • Making It Up: Photographic Fictions (2018) In this episode from Tennyson’s Idylls of the King, the wounded King Arthur is taken by boat from Camelot. Cameron employed more stagecraft than usual, creating the illusion of waves and mist out of fabric, and even drawing a moon on the negative in the upper left corner. Marta Weiss
  • Julia Margaret Cameron Victoria and Albert Museum The Passing of Arthur From Idylls of the King and Other Poems, Volume II About 1875 This is by far the most theatrical of Cameron’s illustrations to the Idylls. The wounded King Arthur is taken by boat from Camelot. Cameron used fabric to create the illusion of waves and mist, and even drew a moon on the negative in the upper left corner. Given by Mrs Ida S. Perrin, 1939 V&A: 46, 46:1-1939 (28 November 2015 – 21 February 2016)
Credit line
Given by Mrs Ida S. Perrin, 1939
Object history
Julia Margaret Cameron (1815–79) was one of the most important and innovative photographers of the 19th century. Her photographs were rule-breaking: purposely out of focus, and often including scratches, smudges and other traces of the artist’s process. Best known for her powerful portraits, she also posed her sitters – friends, family and servants – as characters from biblical, historical or allegorical stories.



Born in Calcutta on 11 June 1815, the fourth of seven sisters, her father was an East India Company official and her mother descended from French aristocracy. Educated mainly in France, Cameron returned to India in 1834.



In 1842, the British astronomer Sir John Herschel (1792 – 1871) introduced Cameron to photography, sending her examples of the new invention. They had met in 1836 while Cameron was convalescing from an illness in the Cape of Good Hope, South Africa. He remained a life-long friend and correspondent on technical photographic matters. That same year she met Charles Hay Cameron (1795–1880), 20 years her senior, a reformer of Indian law and education. They married in Calcutta in 1838 and she became a prominent hostess in colonial society. A decade later, the Camerons moved to England. By then they had four children; two more were born in England. Several of Cameron’s sisters were already living there, and had established literary, artistic and social connections. The Camerons eventually settled in Freshwater, on the Isle of Wight.



At the age of 48 Cameron received a camera as a gift from her daughter and son-in-law. It was accompanied by the words, ‘It may amuse you, Mother, to try to photograph during your solitude at Freshwater.’ Cameron had compiled albums and even printed photographs before, but her work as a photographer now began in earnest.



The Camerons lived at Freshwater until 1875, when they moved to Ceylon (now Sri Lanka) where Charles Cameron had purchased coffee and rubber plantations, managed under difficult agricultural and financial conditions by three of their sons. Cameron continued her photographic practice at her new home yet her output decreased significantly and only a small body of photographs from this time remains. After moving to Ceylon the Camerons made only one more visit to England in May 1878. Julia Margaret Cameron died after a brief illness in Ceylon in 1879.



Cameron’s relationship with the Victoria and Albert Museum dates to the earliest years of her photographic career. The first museum exhibition of Cameron's work was held in 1865 at the South Kensington Museum, London (now the V&A). The South Kensington Museum was not only the sole museum to exhibit Cameron’s work in her lifetime, but also the institution that collected her photographs most extensively in her day. In 1868 the Museum gave Cameron the use of two rooms as a portrait studio, perhaps qualifying her as its first artist-in-residence. Today the V&A’s Cameron collection includes photographs acquired directly from the artist, others collected later from various sources, and five letters from Cameron to Sir Henry Cole (1808–82), the Museum’s founding director and an early supporter of photography.

Production
Originally part of a bound folio volume containing 13 photographs by Cameron (one of two albums of illustrations to Tennyson's 'Idylls of the King and other Poems' published by Henry S. King & Co., 1874-75). Each photograph is mounted on bluish mounts with gilt borders.
Subjects depicted
Association
Literary References
  • 'Illustrations for Tennyson's Idylls of the King & Other Poems, vol. 2', Julia Margaret Cameron, London: Henry S. King & Co., 1875
  • Alfred Tennyson, 'The Passing of Arthur', 1859.
Summary
In 1874, Alfred Tennyson, the Poet Laureate, invited Julia Margaret Cameron to make photographic illustrations to his Idylls of the King. This was a series of narrative poems based on the legends of King Arthur. After her large photographs were published as small, wood-cut copies, Cameron decided to produce an edition illustrated by original photographic prints. She accompanied these with extracts from the poems written in her own hand and printed in facsimile. She claimed to have made as many as 245 exposures to arrive at the 25 she finally published in two volumes.



This is by far the most theatrical of Cameron’s illustrations to the Idylls. The wounded King Arthur is taken by boat from Camelot. Cameron used fabric to create the illusion of waves and mist, and even drew a moon on the negative in the upper left corner.
Associated Object
46:1-1939 (text)
Bibliographic References
  • Ford, Colin and Cox, Julian. Julia Margaret Cameron: The Complete Photographs. London: Thames and Hudson, 2003. Cat. no. 1193, p.480, ill.
  • Gernsheim, Helmut. Julia Margaret Cameron: Her Life and Photographic Work. Millerton, N.Y.: Aperture, 1975, p. 81.
  • Lukitsh, Joanne. Cameron: Her Work and Career. Rochester, N.Y.: International Museum of Photography at George Eastman House, 1986, p.37.
  • Hopkinson, Amanda. Julia Margaret Cameron. London: Virago Press, 1986, p. 155.
  • Lukitsh, Joanne. Julia Margaret Cameron. London: Phaidon Press, 2001, p. 119.
  • Weiss, Marta. Julia Margaret Cameron: Photographs to electrify you with delight and startle the world. London: MACK, 2015, p. 123.
Collection
Accession Number
46-1939

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record createdJuly 1, 2009
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