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In contrast to the illustrated opening on Harper's Weekly, All the Year Round featured a consistently uniform opening of Collin's text mingling with the opening of the newspaper. This uniform opening demonstrates an priority upon the material nature…

In the American newspaper Harper's Weekly, chapter X is opened with this illustration of Franklin Blake reading. This visualization of Mr. Blake opens up certain visual tropes that Victorian readers will associate with sensation fiction (Leighton…

This image is the title page of chapters Eight and Nine of the Moonstone in All the Year Round. All the Year Round formats the title page in a way that reinforces the idea of proper Englishness. Clear, clean text formatted symmetrically on the page…

This image is the title page of Chapter’s Eight and Nine of the Moonstone in the Publication Harper’s Weekly. Harper’s is able to compare and contrast different cultures using dark and light images. The foreign culture is represented as three Indian…

This image contains two articles found before the moonstone in the January 25th edition of Harper’s Weekly. The two articles discuss political policies in England. The article “Double Allegiance” discusses the absurdity of England’s allegiance laws…

This image contains the article “The Devil Tree” in the Harper’s Weekly publication. The article discusses the people of Zanzibar, Tanzania in Africa and a certain cultural practice they perform. The people of Zanzibar believed they could exercise…

This image is an article that came after Chapter’s Eight and Nine of the Moonstone titled the Language of Animals in All the Year Round. The article tries to determine whether animals have languages similar to humans by looking at the sounds that…

  In The Moonstone in Harper’s Weekly, which was circulated through the United States, the title is similarly printed in distinct, capitalized letters that are easily noticeable from other titles. In Harper’s, too, more space is given around the…

  Leighton and Surridge point out that the illustrations of the Harper’s installments “[heighten] the text’s sensationalism” (207), but the form itself also lends itself in the dramatization of the text. Whereas All the Year Round takes on a book or…

Like All the Year Round, Harper’s Weekly is shown to favor The Moonstone in its publication, though not as exclusively. Other works in Harper’s are also illustrated and have attention drawn to them, however, similar to the transition between stories…

The layout of the text in All the Year Round is uniform throughout the journal and quite formal. Each text is presented without images, in two separate columns, and with the large All the Year Round header. The formality of the layout and the unified…

The table of contents lists the texts by title rather than by author but it is in the table of contents where The Moonstone is given a bit of distinction from everything else. While the entry for The Moonstone still lacks the name of the author,…

This section of "The Moonstone" is placed in between Harper's many visual reminders of the prominence of the letter, and it promotes the book as being "Richly Illustrated", which furthers draws the reader's eye towards the story. The mention of the…

The previous image depicted Harper’s Weekly’s continual Valentine’s Day propaganda. Henkin suggests it to be a theme of the publication’s as an effort to “defend the “Valentine mania” against cynicism in 1859” and offers other examples of their…

Valentine’s Day was an important day for letters and, as recorded by David M. Henkin, caused post offices to be “lumbered with wagon loads of valentines” (Henkin 149). He also notes that St. Valentine’s Day was popular as a “prolific source of dead…

This small image, featured in a section among cartoons, limericks, and poems, same as the comic strip featuring the giant letter, is the last visual reminder of the prominence of the letter contained in this edition of the weekly publication. It…

The header for The Moonstone in Harper's Weekly stands out from the header for the publisher at the top of the page. "The Moonstone" is written in larger font than the Harper's header and Wilkie Collins is credited by name and by another of his…

The layout of the pages in Harper's weekly is less formal, though still giving emphasis to the text, and the header does not dominate as much of the space as it did in All the Year Round. The text is separated into four columns and are marked by…

Harper's Weekly advertises for more than its own brand. The brand names of other products are given equal opportunity to be seen on the page as the ads for Harper's. Harper's weekly is a brand in and of itself without relying on the contents being of…

In "Illustrating The Moonstone in America: Harper's Weekly and Transatlantic Introspection” (2014), Molly Knox Leverenz reminds readers that The Moonstone was published in the United States of America in the years following the Civil War (21). She…

This excerpt from All the Year Round alludes to a number of sources, of varying genre. There is the scientific "lecture on physiology" ("All the Year Round" 100), which is referenced and cited twice, and the reference to Confessions of an English…

This image emphasizes the overt materialistic perspective of this edition of Harper’s Magazine. Even though Part VI of “The Moonstone” clearly describes the diamond as being small enough to shine in Rachel Verinder’s dress, this image depicts the…

Published in Charles Dickens' journal All The Year Round, Wilkie Collins' "The Moonstone" stands alone on the page of the publication, giving the reader the opportunity to appreciate the text on it's own. In this section Betteredge receives a…

This is as close as we get to a mention of correspondence in All The Year Round. It’s a note from the editors of the journal to it’s expectant readers signifying what will be contained in the following weeks serial. Essentially it is a note from one…