<p>Patricia Thomson, The Victorian Heroine: A Changing Ideal (London: Oxford University Press, 1956), p. 77.</p>

<p>Ibid. pp. 38-39.</p>

<p>Mrs. Ellis, The Daughters of England: Their Position in Society, Character, and Responsibilities (1844) in The Family Monitor (New York, 1844), p. 35. My italics.</p>

<p>Ibid., Table 5.</p>

<p>White and White, op. cit., p. 51.</p>

<p>Pevsner, op. cit., p. 231.</p>

<p>Female models were introduced in the life class in Berlin in 1875, in Stockholm in 1839, in Naples in 1870, at the Royal College of Art in London after 1875. Pevsner, op. cit., p. 231. Female models at the Pennsylvania Academy of the Fine Arts wore masks to hide their identity as late as about 1866 - as attested to in a charcoal drawing by Thomas Eakins - if not later.</p>

<p>Contemporary directions in art itself - earthworks, conceptual art, art as information - certainly point away from emphasis on the individual genius and his saleable products; in art history, Harrison C. and Cynthia A. White's Canvases and Careers: Institutional Change in the French Painting World (New York: Wiley, 1965), opens up a fruitful new direction of investigation, as did Nikolaus Pevsner's pioneering Academies of Art.

<p>Nikolaus Pevsner, Academies of Art, Past and Present (Cambridge, England: The University Press, 1940), p. 96f.</p>

<p>A comparison with the parallel myth for women, the Cinderella story, is revealing: Cinderella gains higher status on the basis of a passive, »sex-object« attribute - small feet (shades of fetishism and Chinese foot-binding!), whereas the boy wonder always proves himself through active accomplishment. For a thorough study of myths about artists, see Ernst Kris and Otto Kurz, Die Legende vom Kunstler: Ein Geschichtlicher Versuch (Vienna: Krystall-Verlag, 1934).</p>