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– MARINA WARNER – 6. Emilie Desmier d’Archiac (1773–94), who died with her mother, is the likely subject of the waxwork. 7. Biographical and Descriptive Sketches of the Distinguished Char- acters which Compose the Unrivalled Exhibition of Madame Tussaud’s and Sons. 8. Franco Ruggeri, ‘Il Museo dell’Istituto de Anatomia Umana Nor- male,’ in I Luoghi del Conoscere (La Città del sapere, ii) (Milan, 1988). 9. Ludmila Jordanova, Sexual Visions: Images of Gender in Science Between the Eighteenth and Twentieth Centuries (London, 1989), 43–65. 10. Waxworks 3/61, JJC. 11. G. Martinotti, Le Cere anatomiche della Specola; for the history of the museum of La Specola, see La Ceroplastica nella Scienza e nell’Arte: Atti del 1 Congresso internazionale. Florence, 3–7 June 1975, 2 vols., 1:135; see also Elisabeth Bronfen, Over Her Dead Body: Death, Femininity, and the Aesthetic (Manchester, 1999), 100–1. 12. The affinity between mortal remains and waxworks can be seen in the macabre tableau of Saint Bernadette’s death, staged in the Musée Grévin in Paris. Meanwhile, in the convent at Nevers where she died in 1879, the visionary of Lourdes is laid out, embalmed – and reputed to be incorrupt by special privilege: two· different kinds of effigy, but very like. Again, a religious drama presses out the shape of the secular theatre of fame. 13. John Adams Whipple, ‘Hypnotism’, c. 1845, in, The Waking Dream: Photography’s First Century, selected by Pierre Apraxine, MOMA (New York, 1993), exh. cat., 125. 14. E. R. Hilgard and J. R. Hilgard, Hypnotism and the Relief of Pain (New York, 1975); see also ‘Hypnosis, Experimental’, in Richard Gregory and O. Zangwill (eds.), The Oxford Companion to the Mind (Oxford, 1988), 329–30. 15. Charlotte Brontë, Jane Eyre, ed. Michael Mason (London, 1996), 14–15. 128
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– On the Threshold – 16. Cornelia Parker (Boston, 2000), exh. cat., 30–5, 37, 52, 54. 17. Rainer Maria Rilke, ‘Some Reflections on Dolls – Occasioned by the Wax Dolls of Lotte Pritzel’, in Rodin and Other Prose Pieces, trans. G. Craig Houston, forward by William Tucker (London, 1986), 121–2; see Marina Warner, ‘Self-portrait in a Rear-view Mirror’, in Only Make-Believe, exh. cat, 4–19. 18. Ron Mueck: Making Sculpture at the National Gallery, Colin Wig- gins and Susanna Green, NGL 2003; see also Sensation: Young British Artists from the Saatchi Collection, Royal Academy (London, 1997), exh. cat., 33, 126–7, 203. ‘On the Threshold: Sleeping Beauties’ is taken from Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-first Century (Oxford: Oxford University Press, 2006). 129

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– MARINA WARNER –

6. Emilie Desmier d’Archiac (1773–94), who died with her mother, is the likely subject of the waxwork. 7. Biographical and Descriptive Sketches of the Distinguished Char-

acters which Compose the Unrivalled Exhibition of Madame Tussaud’s and Sons. 8. Franco Ruggeri, ‘Il Museo dell’Istituto de Anatomia Umana Nor-

male,’ in I Luoghi del Conoscere (La Città del sapere, ii) (Milan, 1988). 9. Ludmila Jordanova, Sexual Visions: Images of Gender in Science

Between the Eighteenth and Twentieth Centuries (London, 1989), 43–65. 10. Waxworks 3/61, JJC. 11. G. Martinotti, Le Cere anatomiche della Specola; for the history of the museum of La Specola, see La Ceroplastica nella Scienza e nell’Arte: Atti del 1 Congresso internazionale. Florence, 3–7 June 1975, 2 vols., 1:135; see also Elisabeth Bronfen, Over Her Dead Body: Death, Femininity, and the Aesthetic (Manchester, 1999), 100–1. 12. The affinity between mortal remains and waxworks can be seen in the macabre tableau of Saint Bernadette’s death, staged in the Musée Grévin in Paris. Meanwhile, in the convent at Nevers where she died in 1879, the visionary of Lourdes is laid out, embalmed – and reputed to be incorrupt by special privilege: two· different kinds of effigy, but very like. Again, a religious drama presses out the shape of the secular theatre of fame. 13. John Adams Whipple, ‘Hypnotism’, c. 1845, in, The Waking

Dream: Photography’s First Century, selected by Pierre Apraxine, MOMA (New York, 1993), exh. cat., 125. 14. E. R. Hilgard and J. R. Hilgard, Hypnotism and the Relief of Pain

(New York, 1975); see also ‘Hypnosis, Experimental’, in Richard Gregory and O. Zangwill (eds.), The Oxford Companion to the Mind (Oxford, 1988), 329–30. 15. Charlotte Brontë, Jane Eyre, ed. Michael Mason (London, 1996),

14–15.

128

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