Contributor: Delia da Sousa Correa
Location: Herbert Art Gallery & Museum, Coventry.
Description: Purchased on 22 November 1869 for the 50th birthday of the novelist George Eliot by her partner George Henry Lewes, this Broadwood piano was delivered to a grieving household. Lewes’s middle son, Thornfield, had returned from farming in Africa with a painful illness and had died, aged 25, just a month previously. It was a period when neither Eliot, who was writing Middlemarch, nor Lewes, were able to work. That the piano was purchased then, indicates that it represented something of deep significance. Not surprisingly, no flurry of references to the new piano fills Eliot’s correspondence at this date. Fittingly however, the piano has an implied presence as a source of solace a decade later when, on the first anniversary of Lewes’s own death, a line in Eliot’s diary for 8 Sept 1879 reads simply: ‘Darwin. Schubert’ (Journals, 180). ‘Darwin’ may denote a visitor, or his books; Schubert she must have been playing at the piano. Eliot’s journal further records that she had ‘Touched the piano for the first time’ after Lewes’ death on 27th May (Journals, 175). This piano is, however, representative not just of the personal importance for George Eliot of Romantic music but of its significance for numerous areas of Victorian culture in Britain.
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Contributor: Francesca Benatti
Location: Piazza Santa Croce, Florence
Description: The Basilica of Santa Croce is a late 13th-century Gothic church in Florence, probably designed by architect Arnolfo di Cambio. Home to the Franciscan order in Florence, it contains significant artworks by, among others, Giotto, Donatello, Brunelleschi and Vasari. From the mid 15th century onwards, Santa Croce became the burial place of some of the most prominent literary, artistic and scientific figures from Tuscany and later, the rest of Italy. In the early nineteenth century, it boasted the tombs of Niccolò Machiavelli, Michelangelo Buonarroti, Galileo Galilei and Vittorio Alfieri, the latter completed by Antonio Canova in 1810. These burials attracted the attention of Romantic authors across Europe, who variously interpreted them as metaphors of the state of Italy and for the nature of artistic fame.
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Contributor: Tim Fulford
Location: The Wye Valley/The Royal Institution
Description: In 1800 a man inspired by Wordsworth’s visionary poetry made a trip to Tintern Abbey. Based in Bristol, he was a friend of Coleridge and Southey and was in the midst of editing Lyrical Ballads for the press; he also wrote nature verse in his own right. He was employed, however, not as a poet but as a scientific enquirer, and on his excursion to the river Wye he was armed with an improved eudiometer—the best instrument for measuring the proportion of oxygen, the gas first isolated by Joseph Priestley, in the atmosphere. ‘The Eudiometer’, he wrote, ‘that I have lately used is a very simple & commodious one – It consists of a tube about 5 inches long containing 200 grains of water – The space between the 140 & 180 grains is graduated. – This tube is emptied of water in an atmosphere when you wish to know its composition & plunged into a solution of muriate or sulphate of iron impregnated with Nitrous gas.’(1) He was Humphry Davy…
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