2. See, for instance, Humm.
3. Leonard Woolf, Beginning Again, 35–37, qtd. in Skidelsky, John Maynard Keynes, 148.
4. Curiously, his now-famed wit seems not to have appealed to Strachey, who seems to have found Beecham as stuffy as the eminent Victorians whose lives and reputations he would later so critically reexamine. “What a pompous bounder!” he wrote of Beecham to Ottoline Morrell in 1917 (Levy, Letters 170). Beecham’s name does not even figure in the index of Holroyd’s biography of Strachey.
5. See, for instance, Holroyd; Regan; and Watt.
6. In 1917 Vanessa Bell gave this portrait to Barbara Bagenal, who bequeathed it to the Charleston Trust. It may be seen online at http://www.charlestoncollection.org.uk/index.asp?page=item&mwsquery=%7BIdentity%20number%7D=%7BCHA/P/6%7D. On Sydney-Turner, see also Hall and Lee.
7. Of course the flippant nature of this letter may have far more to do with a desire to entertain its recipient than with any real response to the opera.
8. The famous dance of the blessed spirits is in fact in the second act. Virginia Woolf shared Strachey’s love of Gluck’s Orfeo, which she described at one point as “the loveliest opera ever written” (L5: 259). By a strange irony, the funeral directors at Virginia Woolf’s cremation chose to play excerpts from this opera without consulting Leonard, who was furious because the opera promised a reunion he knew to be impossible.
9. The film can be viewed at www.tate.org.uk/archivejourneys/bloomsburyhtml/art_grant_modernism.htm.
10. See, for instance, Brougher and Mattis.
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