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They are more conventionalized, more colorful and dramatic; if there is a model for these images it may be found in Victoria's own drawings of the theater, her favorite subject in the year or so before she ascended the throne. The dignified profile portraits of Sarah Cooper in particular bear a striking resemblance to the Princess' numerous drawings of Madame Grisi, her favorite actress, in a variety of heroic operatic roles. What we are seeing, then, is several times removed from reality—a conventionalized treatment of someone striking a conventionalized pose.
Sarah's hair is pulled across her forehead and coiled at the back, a coiffure that, combined with the cloak draped over her shoulders, gives her an almost regal appearance. 2), a portrait sketch, depicts Sarah alone and in profile; and although the drawing emphasizes the gypsy curve of her nose, its tone is set by the treatment of her eyes and mouth and the upturned angle of her head—an ardent, meditative pose. She could be an aristocrat, or the heroine of a historical painting. 3) also takes a thoughtful glance upwards, while the head of the woman beside her (carrying a bundle on her back) is set off in front of her circular hat, as if by a halo.
What sort of truth does it represent, and how? What are the concerns and values that inform this "scene"? For it is a scene—both as presented in the Penny Magazine and, according to the essay that begins beneath the illustration, when visited in reality. The anonymous author is enthusiastic enough about this "metropolitan improvement" (an earlier London book of this title had been illustrated by Cruikshank) to describe it as a "scene" or a "picture," so pleasing to gaze upon that we might imagine it had been arranged for our visual gratification.