{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O81614"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O81614/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2008BU5457/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2008BU5457/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2008BU5457","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AL4035","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O81614/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O81614","accessionNumber":"E.1226-2000","objectType":"Photograph","titles":[{"title":"Temperance","type":"assigned by artist"},{"title":"Fruits of the Spirit","type":"series title"}],"summaryDescription":"Like many of her contemporaries, Julia Margaret Cameron was a devout Christian. As a mother of six, the motif of the Madonna and child held particular significance for her. In aspiring to make ‘High Art’, Cameron aimed to make photographs that could be uplifting and morally instructive. \n\nWithin months of acquiring her camera, Cameron embarked on an ambitious series illustrating the nine Christian virtues. Many of the compositions resemble Renaissance paintings. Cameron struggled to represent abstract concepts such as goodness and temperance, as well as to distinguish each virtue from the others. She would not attempt another series until 1874, when she undertook the illustrations to Tennyson’s Idylls of the King. Cameron donated a set of all nine <i>Fruits of the Spirit</i> – mounted in a single frame – to the British Museum in January 1865. ","physicalDescription":"A photograph of a seated woman (Mary Hillier), with her head and shoulders covered by a draped cloth, holding a sleeping infant (Percy Keown?) in her lap.","artistMakerPerson":[{"name":{"text":"Cameron, Julia Margaret","id":"A8214"},"association":{"text":"photographer","id":"AAT25687"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"photographic paper","id":"AAT14190"}],"techniques":[{"text":"albumen process","id":"AAT133274"}],"materialsAndTechniques":"Albumen print from wet collodion glass negative","categories":[{"text":"Photographs","id":"THES48910"},{"text":"Religion","id":"THES48900"},{"text":"Christianity","id":"THES48978"},{"text":"Woman Artist","id":"THES387590"},{"text":"Woman photographer","id":"THES380381"}],"styles":[{"text":"Victorian","id":"AAT21232"}],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2008BU5457","2006AL4035"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"X","shelf":"311","box":"Q"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Isle of Wight","id":"x28925"},"association":{"text":"photographed","id":"x30151"},"note":""}],"productionDates":[{"date":{"text":"1864","earliest":"1864-01-01","latest":"1864-12-31"},"association":{"text":"photographed","id":"x30151"},"note":"date assigned by Cox and Ford"}],"associatedObjects":[],"creditLine":"Transferred from the British Museum, 2000","dimensions":[{"dimension":"Height","value":"28.6","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"22.3","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"'\"The fruits of the Spirit.\"/Galations v.22.'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"black ink","method":"inscribed","position":"lower left, on mount","script":"","translation":"","transliteration":"","type":"","note":"lower left, on mount; inscribed; black ink"},{"content":"'Illustrated from life by/Julia Margaret Cameron.'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"black ink","method":"inscribed","position":"lower right, on mount","script":"","translation":"","transliteration":"","type":"","note":"lower right, on mount; inscribed; black ink"},{"content":"'From life Julia Margaret Cameron'","inscriber":{"name":{"text":"Cameron, Julia Margaret","id":"A8214"},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"inscribed","position":"inscribed on negative, printed in reverse along  bottom edge of photograph, from right to left.","script":"","translation":"","transliteration":"","type":"","note":"inscribed on negative, printed in reverse along  bottom edge of photograph, from right to left.; inscribed; Cameron, Julia Margaret"},{"content":"'[crown stamp] BM - P&D 1865-1-14-1302'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"brown ink","method":"stamped","position":"verso, lower left, along edge on mount","script":"","translation":"","transliteration":"","type":"","note":"verso, lower left, along edge on mount; stamped; brown ink"},{"content":"'Temperance.'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"red ink","method":"pasted","position":"lower centre on mount","script":"","translation":"","transliteration":"","type":"","note":"lower centre on mount; pasted; red ink"},{"content":"'1865.1.14.1302.'","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"black ink","method":"inscribed","position":"on mount, centre, under image.","script":"","translation":"","transliteration":"","type":"","note":"on mount, centre, under image.; inscribed; black ink"}],"objectHistory":"This photograph is one of a series of nine made in 1864 (Julia Margaret Cameron's first year of photography), known as \"The Fruits of the Spirit\".  Cameron conceptualised the photographs in the sequence individually, inscribing the title on the mount of each print, corresponding to the virtues of love, joy, peace, long-suffering, gentleness, goodness, faith, meekness and temperance as taught by Paul in the Galatians (5:22-3).  The photographs show a model (Mary Hillier) as a contemplative Madonna and in all but one (Joy, V&A Ph 363-1981) posed in the manner of the Madonna and Child (with one or two infants), an often depicted and important subject in the history of art, particularly in Flemish and Italian Renaissance painting. Cameron's house maid Hillier appeared so frequently and convincingly in the guise of Madonna that she was known in the Freshwater circles as \"Mary Madonna\".","historicalContext":"","briefDescription":"Photograph by Julia Margaret Cameron, 'Temperance' (sitters Mary Hillier, Percy Keown?), from the series <i>Fruits of the Spirit</i>,albumen print, 1864","bibliographicReferences":[{"reference":{"text":"Cox, Julian and Colin Ford, with contributions by Joanne Lukitsh and Philippa Wright. <u>Julia Margaret Cameron: The Complete Photographs</u>. London: Thames &amp; Hudson, in association with The J. Paul Getty Museum, Los Angeles and The National Museum of Photography, Film & Television, Bradford, 2003. ISBN: 0-500-54265-1","id":"AUTH321348"},"details":"cat. no. 46, p. 143","free":""}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Mary Hillier","id":"N2496"},{"text":"Percy Keown","id":"N5200"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"children","id":"x31526"},{"text":"woman","id":"x35642"},{"text":"Virgin and Child","id":"x31507"}],"contentConcepts":[{"text":"Religion","id":"x37580"},{"text":"christianity","id":"AAT73711"}],"contentLiteraryRefs":["Galatians 5:22-23"],"galleryLabels":[{"text":"<i>Julia Margaret Cameron:  A Bicentenary Exhibition</i>\n\n<b>Fruits of the Spirit</b>\r\n1864\r\n\r\nWithin months of acquiring her camera, Cameron embarked on an ambitious series illustrating the nine Christian virtues. Many of the compositions resemble Renaissance paintings. Cameron struggled to represent abstract concepts such as goodness and temperance, as well as to distinguish each virtue from the others. She would not attempt another series until 1874, when she undertook the illustrations to Tennyson’s Idylls of the King. Cameron donated a set of all nine Fruits of the Spirit – mounted in a single frame – to the British Museum in January 1865. \r\n\r\nPurchased from Julia Margaret Cameron, 17 June 1865\r\nMuseum nos. 44:746, 44:756\r\n\r\nGiven by Mrs Margaret Southam, 1941 \r\nMuseum no. PH.363-1981\r\n\r\nTransferred from the British Museum, 2000\r\nMuseum nos. E.1218-2000, E.1220 to 1222-2000, E.1224-2000 and E.1226-2000\r\n","date":{"text":"18 November 2014 – 25 September 2016","earliest":"2014-11-18","latest":"2016-09-25"}}],"partNumbers":["E.1226-2000"],"accessionNumberNum":"1226","accessionNumberPrefix":"E","accessionYear":2000,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-29","recordCreationDate":"2003-06-18","availableToBook":false}}