The Best of Friends Must Part (Punch, September 28, 1878) 1878

Editor: So, here we have "The Best of Friends Must Part" by Sir John Tenniel, published in *Punch* in 1878. It appears to be a pen and ink drawing, likely for print. I find the way the artist uses line work to create depth interesting. What’s your take on this image? Curator: Well, from a materialist perspective, I'm immediately drawn to the means of production here. This wasn't intended as a precious artwork in the traditional sense, but a reproducible image, destined for mass consumption in a weekly magazine. It served a social function. Editor: Social function, as in political commentary? Curator: Precisely! It is a commentary produced in an age of widespread consumption of illustrated magazines. We need to consider Tenniel’s labor here. He was a professional, creating images to shape public opinion. Editor: So, the materiality of ink on paper, reproduced en masse, is directly tied to the political message? Curator: Absolutely. The print medium allowed for the dissemination of this commentary to a broad audience. Notice how the characters' clothing signifies status and origin: it is also commenting on who can be "consumed" into society and by what mechanisms. Editor: The figures are dressed to represent Canada and its Governor-General… it’s a rather obvious visual metaphor, but you are focusing on how *Punch*’s format allowed such ideas to spread rapidly. Curator: Exactly. Understanding the materials and the publication process gives us insight into how ideas about empire and governance were circulated and consumed in Victorian society. Do you notice any additional materials or tools that support my perspective? Editor: That does make me see it differently. I hadn’t really thought about it in terms of production and consumption before. It is all about distribution of images. Curator: Glad to hear!