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ABSTRACT This essay examines the relationship between George Eliot's representation of the Jewish body inDaniel Derondaand Francis Galton's photographic race-science. It argues that, for both Eliot and Galton, Jewish racial identity is, paradoxically, defined by a corporeal evacuation and abstraction—that is, by a ghostly disembodiment. While Eliot's representation of Deronda has traditionally been read as a radical departure from the realism that Eliot was so instrumental in defining, in a sense,Daniel Derondarepresents a thorough adaptation to photographic technology and scientic realism.