The Journal "Vanity Fair" and Later Victorian Politics

Abstract

TH E English periodical Vanity Fair provided some of most incisive, outspoken, and witty commentary on political and diplomatic developments of last third of nineteenth century. Although it is now remembered only for its caricatures of men of day by Ape and Spy and as originator and most successful exponent of society journalism, magazine was then required reading for upper ten thousand who still dominated British politics and society. The Newspaper Press Directory and Advertisers' Guide for 1875 described Vanity Fair as the especial journal and accepted organ of society . . . clever, sparkling, and ably written, . . . making it most desirable and appropriate ornament for drawing room. In opinion of Directory, those who are in society Vanity Fair is indispensable. Deacon's Press Guide for 1881 confirms this evaluation, indicating that Vanity Fair was probably read by a larger number of official and wealthy persons than any other English weekly journal. The views expressed in its pages gained a ready reception among gentlemanly class of Britain. The journal was both a creator of West End London opinion and a barometric indicator of this elite's responses to political changes of time. The recent increase in scholarly interest in Victorian periodicals has focused almost exclusively on fortnightly, monthly, and quarterly reviews. The only attention which weekly Vanity Fair has received has come from scholars interested in history of caricature and cartooning. Eileen Harris's masterful introduction to catalog of National Portrait Gallery's 1976 exhibition of Vanity Fair caricatures is by far best study of subject to date. Carlo Pellegrini, Vanity Fair's most famous and talented cartoonist, Ape, has been studied in a