Mary Wollstonecraft

Mary Wollstonecraft

Contributor: Martin Fog Arndal

Location: National Portrait Gallery, London

Description: In 1797, renowned philosopher and author, Mary Wollstonecraft sat for her last portrait made by John Opie, portrait painter to the royal family as well as a number of other influential Britons. Of the different portraits Wollstonecraft would sit for, this one stands out due to its serene expression. Compared to Opie’s first portrait of her in 1790-1, in which Wollstonecraft is holding an open book in her hands, gazing straight into the eyes of the beholder, the latter portrait is radically different. Holding no objects, only bearing the colors of black and white, she lights up against a dark background, gazing to her right. In front of Opie sits not only the feminist depicted in 1790-1, but a mother of one, and pregnant once again. However, the vividness of her eyes, the relaxed shoulders, and the relaxed composition defy the emotional turmoil that had defined the years before her untimely death. Eleven days after giving birth, later that same year Opie depicted her for the last time, Wollstonecraft would pass away.

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Anne Lister’s Diary, 30th March 1834

Anne Lister’s Diary, 30th March 1834

Contributor: Helene Grøn

Location: Calderdale, West Yorkshire Archive Service

Description: Anne Lister’s diaries were written between 1806 and her death in 1840, containing four million words mostly written in legible hand that detail her life as a high-class, Tory landowner residing in Shibden Hall. A small portion, like this entry, is written in the coded language that Lister called her ‘crypthand’, which makes for a mysterious-looking and illegible document in its mix of ‘Greek letters with symbols of her own devising’ (Lister and Whitbread 2010, xiii). The use of crypthand ‘allowed her the freedom to describe her intimate life in great detail’ (xiii), and with assured secrecy from any prying contemporary who might get it into their heads to read her diaries. It took until sixty years after Lister’s death until her relative John, the last Lister living in Shibden Hall, decided to attempt to decode the crypthand passages together with his antiquarian friend Anthony Burrell. What they found was so disturbing that Burrell suggested the diaries be burned, and John responded by hiding them behind a panel at Shibden Hall. Here they remained until his death in 1933, where Shibden Hall and its inventory passed to Halifax Town Council, making the diaries public property. Even so, it took until the 1980s before it came to light, beyond a narrow circle of scholars and historians, what had been so shocking for John Lister and Burrell: the ‘sections written in code discussed Lister’s romantic affairs with other women’ (Campbell 2022, 2).

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Box with hoopoe on the lid

Box with hoopoe on the lid

Contributor: Alexander Knopf

Location: Freies Deutsches Hochstift / Frankfurter Goethe-Museum, Frankfurt/Main, Germany

Description: On the 22 December 1820, Goethe sent a small box to Jakob and Marianne von Willemer in Frankfurt. The lid of the box showed a hoopoe (Upupa epops). The present, ‘manufactured by the most delicate hands and with a liberal heart’, was enclosed with a letter addressed to the couple. However, it was intended for Marianne alone, Goethe’s former lover. Goethe’s phrasing avoids very carefully any personal dedication. The gift ‘may be received friendly and, according to an attached note, be used at least for a while’ (Goethe 1986, 104). The husband should by no means feel offended. It was, nonetheless, the picture on the cover which revealed to Marianne that she was the recipient. Consequently, the enclosed paper did not bear a mere ‘note’, but a poem beginning with a direct address:

Du! Schweige künftig nicht so lange
Tritt freundlich oft zu mir herein;
Und laß bey jedem frommen Sange
Dir Glänzendes zur Seite seyn. (Goethe 1986, 106)

Thou! From now on, don’t be silent for so long
Step friendly in to me more often;
And, with every pious chant,
Let something gleaming be next to your side.

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Chopin’s Pickled Heart

Chopin's pickled heart
Photograph reproduced from https://www.sciencedirect.com/journal/the-american-journal-of-medicine/vol/131/issue/4 with permission of Elsevier

Contributor: Joanna Beaufoy

Location: Holy Cross Church, Warsaw, Poland

Description: A story goes that Fryderyk Chopin’s heart was smuggled from Paris to Warsaw in a jar of cognac by his sister, Ludwika, in the weeks following his death on 17 October 1849. The rest of Chopin’s body, we know for sure, was buried at the cemetery of Père Lachaise in Paris, the city where he lived for the last nineteen years of his life. The heart, in its jar, remained in Warsaw, apart from a brief evacuation during the Second World War. It is still there, the amber liquid preserving it in a remarkable state of health for a one hundred and sixty five-year old heart.

Two aspects may excite the curiosity of scholars of European Romanticism: the heart itself, and the notion of home. Firstly, it is the story of the place the heart held in Romantic symbolic thought and its role in artistic creation. Secondly, the homecoming of the heart raises questions about home, nation, and belonging in the context of death. The object’s journey from France to Poland complicates ideas about Romanticism and national identity. Already at the time of Chopin’s death, rumours and conflicting accounts of the heart abounded. The difficulty of establishing the facts that led to the heart’s removal from Chopin’s corpse and its arrival in Warsaw reflects the heart’s status as a mythical object. What does the popularity of this story tell us about Romantic ideas about home, belonging, fatherland, illness, death, and love?

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Tomb of Abelard and Heloïse

Painting of the Tomb of Abelard and Heloïse

Contributor: Lene Østermark-Johansen

Location: Père Lachaise Cemetery, Paris

Description: Lovers past and present are united in A. W. N. Pugin’s depiction of the tomb of Abelard (1079–1142) and Héloïse (1098–1164) in the Parisian cemetery of Père Lachaise. The gothic monument with the reclining statues of the medieval lovers serves as suggestive background to the two young lovers, captured in intimate conversation in an Elysian garden, where death and love, stone and vegetation invite a contemplation of the passing of time with love as a transcending force.  The solitude à deux contrasts with the overpopulated city of the dead, crammed with funeral monuments, which meets the modern visitor to the cemetery.

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A watercolour illustration to Monsieur Botte.

A watercolour illustration to Monsieur Botte.

Contributor: Shelly Charles

Description (English): This late nineteenth-century watercolour by the caricaturist and theatrical costume designer Draner depicts the Lepeintre brothers in Monsieur Botte (1827), a comedy-vaudeville by Depeuty and Villeneuve based on Pigault-Lebrun’s fiction of the same title of 1802. It evidences the century-long popularity of a novelist now almost forgotten. Despite the critical, legal and religious censorship to which his work was subjected, it was widely disseminated during the nineteenth century through multiple reissues, translations, various imitations and theatrical adaptations. From 1796 (L’Enfant du Carnaval) to 1830 (Contes à mon petit-fils), from the Terror to the Three Glorious Days, Pigault-Lebrun’s novels follow the evolution of French society through the succession of regimes and historical events. Balzac, Stendhal, Hugo, and Flaubert remind us, each in his own way, of the place occupied in their imaginations and their aesthetics by these scandalous novels in which free thought reconnects with the tradition of comic realism to offer a fresh look at morals.

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Choiseul-Meuse’s Entre Chien et Loup

Choiseul-Meuse’s Entre Chien et Loup

Contributor: Bénédicte Prot

Description (English): Félicité de Choiseul-Meuse is the presumed author of many literary works published between 1797 and 1824, including the libertine fiction Entre chien et loup, published anonymously in 1809. In 1881, the Belgian publisher Henry Kistemaeckers offers to bibliophiles a luxurious reprint, illustrated with this frontispiece by Amédée Lynen, as part of a collection of ‘erotic and literary curiosities’.

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Eugenie Servières paints the Romantic Orientalism of Sophie Cottin

Eugenie Servières paints the Romantic Orientalism of Sophie Cottin

Contributor: Christie Margrave

Description (English): In early nineteenth-century France, Eugénie Servières ‘took to painting medieval themes under the influence of romanticism’ (Handley, p.29). Although Servières is little-known, more than one of her paintings interact with the work of one of the most popular novelists of the era: Sophie Cottin. Given Servières’s taste, it is unsurprising that she was inspired by Cottin’s Mathilde ou mémoires tirés de l’histoire des croisades (1805), which is replete with examples of early French Romantic Medievalist imagery. Painted in 1820, this painting, entitled Maleck-Adhel [sic] attendant Mathilde au tombeau de Josselin de Montmorency, was the second of Servières’s paintings to be inspired by Mathilde. Here, she chooses to focus on two particular Romantic tropes: Orientalism and death. In so doing, she emphasises Cottin’s own juxtaposition of these two common features of Romantic texts and images, both representative of the ‘au-delà’, within Mathilde. Servières depicts the scene which takes place at the tomb of Montmorency, and several features of the image aid the reader to unlock the power Cottin attributes to this scene and its spatial setting.

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Mont Blanc

Mont Blanc

Contributor: Simon Bainbridge

Location: The Alps

Description: The summit of Mont Blanc was first reached in 1786, when the Chamonix-based doctor Michael-Gabriel Paccard and the crystal hunter Jacques Balmat attained the highest point in Western Europe. The following year, the Genevan man of science, Horace Bénédict de Saussure, fulfilled his obsessional desire to reach the loftiest of vantage points, which for him became the most elevated of outdoor laboratories; he spent four hours on the summit conducting various experiments. De Saussure, best known for his four volume Voyages dans les Alpes (1779-1796), speedily published an abbreviated narrative of his ‘Journey to the Summit of Mont Blanc’. De Saussure’s evocation of his mountain ascent was a major contribution to the developing genre of Alpine travel writing, which became a key form in materialising and transmitting Romantic ideas and sentiments across Europe.

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Byron’s Decoupage Screen

Contributor: Sonia Hofkosh

Location: Newstead Abbey, UK

Description: The catalogue for an auction of “a Collection of Books” advertised as “LATE THE PROPERTY OF A NOBLEMAN ABOUT TO LEAVE ENGLAND ON A TOUR,” highlights some of the volumes it will include, among them: “The Large Plates to Boydell’s Shakespeare, 2 vol. . . . – Morieri, Dictionnaire Historique, 10 vol. . . . Malcolm’s History of Persia, 2 vol. russia. . . –And some Romaic books of which no other Copies are in this Country.” It adds, set off from this assorted list of books, “AND A Large Skreen [sic] covered with Portraits of Actors, Pugilists, Representations of Boxing Matches, &c.” The volumes in this collection were far-flung, not unlike the Nobleman about to leave on a tour: he was Lord Byron, the most famous poet in Europe, poised to travel to Switzerland, through Italy, and finally to Greece after signing the deed of separation from his wife in April 1816.  Perhaps even more out of place than the Lord and the “Romaic books of which no other Copies are in this Country,” the large screen singled out for notice on the cover of the catalogue has more than one story to tell about the mobility of the Romantic imagination.

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