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¹² Light, Alison, Mrs Woolf and the Servants (London, 2008), 175Google Scholar.

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¹⁵ Edwards and Hart, “The Victorian Interior,” 5. See also John Potvin, “The Aesthetics of Community: Queer Interiors and the Desire for Intimacy,” in Edwards and Hart, Rethinking, 181.

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²⁶ Delaney, Charles Ricketts, 15.

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³⁰ Ricketts, Self-Portrait, 22; for comparative values, see the Economic History Association website at http://eh.net/hmit/ (last accessed 20 August 2011).

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³² Letter to William Pye, May 1906, in Ricketts, Self-Portrait, 134.

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³⁹ Cohen, Household, 156.

⁴⁰ Potvin, “Collecting,” 197.

⁴¹ Lewis, “Preface,” ix.

⁴² Blanche, Portraits, 131. On the Victorian trend for eclecticism, see Cohen, Household, 84; on the need for a more nuanced readings of eclecticism, see Edwards and Hart, “Victorian Interior,” 12–14.

⁴³ Cohen, Household, chap. 7.

⁴⁴ Ricketts, Self-Portrait, ix.

⁴⁵ Ibid., vii.

⁴⁶ Ricketts, Oscar Wilde, 40.

⁴⁷ Ricketts, Self-Portrait, vii; Potvin, “Collecting,” 203.

⁴⁸ Ricketts, Self-Portrait, vii.

⁴⁹ Blanche, Portraits, 130. The depiction of Leighton’s bedroom was somewhat erroneous, Jason Edwards suggests. See Edwards, “Lessons.”

⁵⁰ Potvin, “Askesis,” 73 and 86.

⁵¹ Marcus, “At Home,” 120 and 138.

⁵² Ibid., 138; Potvin, “Collecting,” 182.

⁵³ Edwards, “Lessons,” esp. 97 and 105.

⁵⁴ Tosh, Man’s Place, 4; Potvin, “Collecting,” 193 and 206. See also Potvin, “Aesthetics,” 182.

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⁷⁶ Cited in Delaney, Charles Ricketts, 177.

⁷⁷ Cited in Ibid., 179.

⁷⁸ Cook, “Families”; Potvin, “Askesis.”

⁷⁹ Cited in Potvin, “Askesis,” 84.

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⁹⁰ Delaney, Charles Ricketts,160.

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⁹³ Potvin, “Askesis,” 75.

⁹⁴ Delaney, Charles Ricketts, 155.

⁹⁵ Ricketts, Self-Portrait, 96.

⁹⁶ Ibid., 65–66.

⁹⁷ Cited in Delaney, Charles Ricketts, 305.

⁹⁸ Ricketts, Self-Portrait, 22.

⁹⁹ See, e.g., “Diary,” 23 May 1902, in Ricketts, Self-Portrait, 78. Freud to Jung, 2 November 1911, in The Freud/Jung Letters: The Correspondence between Sigmund Freud and C. G. Jung, ed. William McGuire, trans. Ralph Mannheim and R. F. C. Hull (London, 1974), 453–54.

¹⁰⁰ Delaney, Charles Ricketts, 123.

¹⁰¹ Ibid., 334.

¹⁰² Ricketts, Self-Portrait, 107.

¹⁰³ On this point, see Edwards and Hart, “The Victorian Interior,” 9.

¹⁰⁴ Lewis, “Preface,” v–vi. On this point, see Potvin, “Collecting,” 201–2.

¹⁰⁵ Walkley, Artists’ Houses, 218; Delaney, Charles Ricketts, 49.

¹⁰⁶ Potvin, “Aesthetics,” 174.

¹⁰⁷ Ricketts, Wilde, 44.

¹⁰⁸ Delaney, Charles Ricketts, 58.

¹⁰⁹ Ibid., 55.

¹¹⁰ Ricketts, Wilde, 36–37.

¹¹¹ Dakers, Holland Park Circle, 2. Martha Droth suggests that this was a way for artists to determine some of the meaning of their work. See Martha Droth, “Sculpture and Aesthetic Intent in the Late-Victorian Interior,” in Edwards and Hart, Rethinking, 226.

¹¹² Delaney, Charles Ricketts, 258–61.

¹¹³ On the link between Hallward and Shannon, see Ibid., 49.

¹¹⁴ Delaney, Charles Ricketts, 314.

¹¹⁵ Emphasis mine. Lewis in Ricketts, Self-Portrait, viii. On the queer significance of uncles, see Sedgwick, “Tales”; and Eileen Cleere, Avuncularism: Capitalism, Patriarchy, and Nineteenth-Century English Culture (Stanford, CA, 2004)Google Scholar.

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¹²⁷ Ibid., 411.

¹²⁸ Delaney, Charles Ricketts, 417.

¹²⁹ Ibid., 249.

¹³⁰ Ricketts, Self-Portrait, 415.

¹³¹ Delaney, Charles Ricketts, 383.

¹³² Ricketts to Gordon Bottomley, 16 September 1922, in Ricketts, Self-Portrait, 342.

¹³³ Ricketts to John Gray, cited in Delaney, Charles Ricketts, 389.

¹³⁴ Ricketts, Self-Portrait, 343.

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¹³⁸ Cook, “Families.”

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