Both the problematic discourses of ‘professional/amateur’ and ‘public/private spheres’, and also the multifaceted hierarchies between the fine and the applied arts, have received substantial academic enquiry in the last thirty years. This is particularly true for the art historians researching the cultural activities of middle-class women in 19th-century Britain.
Students of history are not always aware when they live through major historiographic change; shifts are sometimes only recognizable in hindsight, with accumulated divergences sharply evident against the backdrop of the field.
In January 1988, hundreds of people gathered in Cardiff for a rally organised by ‘Wales Against Clause 28’. Held aloft ‘were signs identifying the places the mainly lesbian and gay marchers had lived and where they were from to disprove the popular notion that “there were no gays in Wales”.’ (p.