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Mapping the “White, Marmorean Flock”: Anne Whitney Abroad, 1867–1868
Jacqueline Marie Musacchio is Professor of Italian Renaissance and Baroque Art at Wellesley College. Many of her publications have focused on the material culture of private life, including The Art and Ritual of Childbirth in Renaissance Italy (Yale University Press, 1999), Art, Marriage, and Family in the Florentine Renaissance Palace (Yale University Press, 2009), and an essay and entries for the exhibition catalogue Art and Love in Renaissance Italy (Yale University Press, 2008). Her earlier article for NCAW, “Infesting the Galleries of Europe: The Copyist Emma Conant Church in Paris and Rome” (Autumn 2011), won the 2012 Online Publishing Prize from the Association of Research Institutes in Art History. This research is part of her current book project, At Home Abroad: Anne Whitney and American Women Artists in Late Nineteenth-Century Italy.
Email the author jmusacch[at]wellesley.edu.
with Jenifer Bartle and David McClure, assisted by Kalyani Bhatt
NOTE: To best view the exhibits associated with this article, we recommend using Google Chrome. Zoom and focus for individual entries were set on a Lenovo Thinkpad with a 14-inch screen; although Neatline adjusts as best as it can according to the size of your screen, certain features may not respond as intended. Larger screens, for example, may not stretch the map to cover the entire view while smaller screens and tablet devices may stack maps, timeline, and popup windows, making it difficult to see all the features in context. Your respective internet speed may also result in slow loading, particularly for points on the Massachusetts and Switzerland maps.
The article, maps, and timeline components of this project illustrate the first sixteen months of Anne Whitney’s life abroad in a macro and micro fashion. In the language of the Neatline plugin used to generate the interactive features, the maps and timeline constitute two “exhibits”; where relevant, these exhibits are linked to the article in both the main text and endnotes. Although the article tells a complete narrative on its own, readers seeking more information, or the manuscript sources for my analysis, can link to precise points in the exhibits. While I hope readers will use text and tools together for the most complete experience, they can be accessed independently. In fact, doing so will yield even more information, since there are many records in the exhibit that are not linked to in the article, but which provide a broader and richer context for Whitney’s experience and indeed that of other female artists abroad of this era.
Anne Whitney Abroad, 1867–1868: The Continental Perspective
Anne Whitney Abroad, 1867–1868: The First Sixteen Months
Exploring the Maps and Timelines
Users can navigate the exhibits either via the timeline entries or by simply moving around the map itself, clicking on dots or arrows for additional information, or using the zoom feature to move in or out. The latter type of navigation allows you, for example, to read all the records about St. Peter’s at once, even though they take place over many months. However, please note that the maps will refocus and/or zoom in on the relevant location when a timeline record is clicked, but not when a dot or arrow is clicked on the map. To get the most information from the map, you must access each individual record through the timeline or through the direct links in the article. Clicking and dragging the map will cause the timeline to shrink to the lower left corner of the screen, maximizing the map view. Simply clicking on the timeline again will restore it to its original size and position.
The timelines in both exhibits can be explored using a mouse wheel, a track pad, or a touch screen. When they are first loaded, the entire sixteen month span is visible, with records crowded together. Readers can expand and contract the timeline to a minimum of seven days by scrolling (up and down on a mouse wheel) or “pinching” (on a track pad, a touch mouse, or a touch screen). The timeline on The Continental Perspective exhibit has a single track; that on The First Sixteen Months exhibit is divided into five tracks: travel, daily events, sites, art, and events. These categories are conceived broadly to correspond to the different aspects of Whitney’s experience, providing an enhanced visualization of events in her life and in the larger world of Rome and beyond. In The First Sixteen Months exhibit, category tracks will expand and contract in height so that all records are visible.
How to Cite the Exhibits
“Anne Whitney Abroad, 1867–1868: The First Sixteen Months,” in Jacqueline Marie Musacchio, “Mapping the ‘White, Marmorean Flock’: Anne Whitney Abroad, 1867–1868,” Nineteenth-Century Art Worldwide 13, no. 2 (Fall 2014): omeka.wellesley.edu/annewhitney/neatline/show/detail
To cite a particular record:
Colton, G. Woolworth. Colton’s Massachusetts and Rhode Island. New York: Colton, 1865. (Digitized by David Rumsey Map Collection)
Colton, G. Woolworth and Richard Swainson Fisher. Colton’s General Atlas, Containing One Hundred and Eighty Steel Plate Maps and Plans. New York: Colton, 1865.
Dumas-Vorzet, Edouard. Paris. Paris: Librairie du Petit Journal, 1867. (Digitized by Harvard Geospatial Library)
Italy: Handbook for Travellers; Central Italy and Rome. Coblenz: Karl Baedeker, 1869.
Italy: Handbook for Travelers. Coblenz: Karl Baedeker, 1867.
Paris and Northern France: Handbook for Travelers. Coblenz: Karl Baedeker, 1867.
Switzerland and the Adjacent Portions of Italy, Savoy, and the Tyrol: Handbook for Travelers. Coblenz: Karl Baedeker, 1867.