Contributor: Yuri Yoshino
Location: The Taylor Institution Library, the University of Oxford
Description: This house, Edgeworthstown House in Co. Longford, Ireland, was an important intellectual powerhouse in Europe during the Romantic period. This engraving, published on the front cover of the 42nd issue of Le Magasin Pittoresque (1833-1938) in October 1850, testifies to the continuing influence of works by Maria Edgeworth (1768-1849) and her family in France and beyond, years after the publication of her final major novel, Helen (1834) and its translation into French by Louise Swanton-Belloc in the same year. The object of Le Magasin was popular education; it had been launched as the earliest imitation of Charles Knight’s Penny Magazine (1832-46), which aimed to enlighten popular readers with the aid of wood-engraved images without provoking radical ideas. Le Magasin was, however, more progressive than its British counterpart, promoting the institutionalization of general education in France during the period (Mainardi 86), and this may account for its interest in the Edgeworths.
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Contributor: Anne-Claire Michoux
Location: National Library of Ireland (Dublin)
Description: On the 21st of January 1803, Richard Lovell Edgeworth, who had been residing in Paris for a few months with his daughter Maria and other family members, was ordered by the police to leave the capital within twenty-four hours. This document is a copy of the petition addressed to the ‘Citoyen Grand Juge’, Claude Ambroise Régnier (nominated in 1802), signed by eighteen leading French and Genevese literary, scientific, and political authorities appealing against the order on the family’s behalf. Many of the signatories were members of the Institut national des sciences et des arts, founded in 1795, of which Napoleon was also a member, and were in high office as members of the Tribunat, one of the main legal institutions under Napoleon. The petition captures the still-operative Enlightenment belief in a republic of letters which privileges intercultural intellectual exchanges. It reflects the dream of a European intellectual community that endures beyond or despite political and military conflict.
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Contributor: Serena Baiesi
Location: Surrey Gaol, Horsemonger Lane, London. Detail from Edmund Blunden, ed., Leigh Hunt. A Biography (Archon Books, 1930)
Description: In 1812 Leigh Hunt (1784-1859) wrote that the Prince Regent was a violator of his word and a disreputable libertine in an article published in The Examiner — a radical newspaper he edited with his brother John. As a result he was sentenced to prison for two years from 1813 until 1815 for seditious libel and sent to Surrey Gaol, Horsemonger Lane. After a month spent in a small dwelling, Hunt was moved to a two-room suite in the prison infirmary. Here Hunt spent his days reading, writing, meeting with friends who constantly visited him, and enjoying the company of his wife and children. Even though during his prison days Hunt suffered several nervous attacks, characterised by palpitations, headaches, and uncontrollable anxiety, he describes this period in his autobiography, in many letters, and in reported conversations, as very convivial. Secluded in prison, Hunt became very productive, constantly contributing to The Examiner, writing poetry later collected in Foliage, composing the long poem The Story of Rimini, and beginning his drama The Descent of Liberty. He also became the centre of a very animated literary and liberal intellectual circle, which became legendary as a model for Romantic intellectual sociability.
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Contributor: Nicola J. Watson
Location: Current whereabouts of object unknown
Description: In February 2008, this object came up for auction at a sale of selected contents of Clothall House, Hertfordshire and of items from The Savoy Hotel run by Bonham’s Auctioneers in London. The auction catalogue described it as ‘A 19th century gilt bronze European Tour souvenir model of ‘Petrarch’s inkstand.’ It sold for £60 to a private collector, a figure that registers its catastrophic decline in cultural import since the date of its manufacture, sometime between the first half of the nineteenth century when Petrarch’s reputation was running high on the tides of Romantic taste and the 1870s when such items were being mass-produced. At the outset of the century, such an item would have been made to special commission to describe an intellectual or sentimental affinity. In brokering and making visible an imaginary conversation between the dead and the living, ‘Petrarch’s inkstand’ was one of a number of inkstands that constructed a transnational notion of Romantic posterity.
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