Jameson was connected to some of the most prominent names of the period including Joanna Baillie, Fanny Kemble, Elizabeth Barrett-Browning and Robert Browning, Harriet Martineau, Ottilie von Goethe (the daughter-in-law of Goethe), Lady Byron, Harriet Hosmer, Ada Lovelace, Charles and Elizabeth Eastlake, and Barbara Leigh Smith Bodichon.

Colburn ultimately published it as The Diary of an Ennuyée (1826), which attracted much attention, not least because the identity of the writer was soon discovered creating a scandal among reviewers in particular who felt they had been duped.

Anna Murphy was governess to the children of Edward Littleton, later created Baron Hatherton, from 1821 to 1825, when she relented and married Jameson.

In 1829, when Jameson was appointed puisne judge in the island of Dominica, he left Anna in England (never sending for her during his time there despite repeated promises), and she visited Continental Europe again with her father.

[4] As Anne Russell says, "So widely was Shakspeare’s Heroines read that almost every subsequent nineteenth-century writer on Shakespeare’s women characters mentions the book".

The conglomerations of hard lines, cold colours and pedantic subjects which decorated Munich under the patronage of King Ludwig I of Bavaria, were new to the world, and Jameson's enthusiasm first gave them an English reputation.

[1] In 1834 she published the book Visits and Sketches at Home and Abroad about her German travels, which included many analyses of art and literature.

"[8] After eight months of travelling and writing in Canada, she felt it useless to prolong a life far from all ties of family happiness and opportunities for a woman of her class and education.

Before leaving, she undertook a journey to the depths of the Indian settlements in Canada; she explored Lake Huron, and saw much of emigrant and indigenous life unknown to colonial travellers.

[1] At this period Jameson began making careful notes of the chief private art collections in and near London.

[4] When she died in 1860, the New York Times said that Mrs. Jameson had "done probably more than any other writer to familiarize the public mind with the principles of art; and her perception of the inner spirit of a great work was so thorough, that its mere statement was eloquence".

To the clear and temperate forms in which she brought the results of her convictions before her friends in the shape of private lectures (published as Sisters of Charity, 1855, and The Communion of Labour, 1856) may be traced the source whence later reformers and philanthropists took counsel and courage.