Project REVE – Page 9 – European Romanticisms in Association

May 22, 2020November 28, 2021

Herries & Co Circular Note

Contributor: E.J. Clery

Location: Lloyds Bank Archive and Museum, UK

Description: This creased and uncharismatic scrap of paper bears a name to conjure with, Robert Herries, visible in the design at either end: in addition to the Herries armorial bearings there are three ‘hurcheons,’ otherwise known as hedgehogs. This is a ‘circular note,’ precursor to the travellers’ cheque. It is a rarity; these notes were routinely destroyed after cancellation but this one is unused and therefore uncancelled. It was scanned from a guard book [ref A/26/b/3] by Karen Sampson of the Herries archive at Lloyds Bank. We do not know its provenance.

The template is in French, the international language of the day, and indicates that payment can be drawn at the Paris headquarters of the bank. The bank also had offices in Dover and London. On the note, there are spaces for the addition of a date and the customer’s signature. Upon completion, with presentation of a letter of ‘indication’ or identification, and after a wait of ‘sept jours,’ the circular note would yield cash in the local currency at banks and businesses in a network stretching from Calais to Moscow, and even further afield. It permitted a new, more informal, style of travel across Europe in the Romantic period.

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May 15, 2020November 28, 2021

Manuscript of 40 verses of Mickiewicz’s “Pan Tadeusz”

Contributor: Teresa Rączka-Jeziorska

Location: Central State Historical Archives of Ukraine in Lviv, 3a Soborna sq., Lviv

Description: This piece of paper was found in 2015 in Lviv in the collection of the Central State Historical Archive of Ukraine. Written on it are the first forty verses of “Pan Tadeusz czyli ostatni zajazd na Litwie. Historia szlachecka z r. 1811 i 1812 we dwunastu księgach wierszem” [“Pan Tadeusz. A Story of the Gentry from 1811 and 1812. Comprising Twelve Books in Verse”], an epic poem that the Polish Romantic poet Adam Mickiewicz (1798-1855), inspired by love and longing for his homeland, created while in Paris (1832-1834). The handwriting is that of Mickiewicz; it has in addition a title and a legible signature in the same hand. The manuscript contains a previously unknown version of the ‘Invocation’ of the Polish national epic. It is possible to date this autograph to Mickiewicz’s residence in Paris through the paper. The manufacturer’s watermark (located in the right bottom corner, front — seashell and “WEYNEN” caption in an irregular octagon), identifies it as Timothée Weynen paper that was very popular in France in the 1830s. Mickiewicz used it mostly in the period from 1832 to 1836, writing most of “Pan Tadeusz” on it, including the so called Dzików manuscript of “Pan Tadeusz”, as well as his translation of Byron’s The Giaour (1833). It became part of a Romantic-era collection of “Autographs of Illustrious Men” which documented authors both old and contemporary, made by bookseller and antiquarian Ambroży Grabowski (1782-1868). Its story exemplifies how and why European Romantic culture was invested in holograph manuscripts associated with poets.

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May 15, 2020November 28, 2021

Le Temple de la Nature, Chamonix

Contributor: Patrick Vincent

Location: Montenvers, Chamonix, France

Description: Built in 1795 as a refuge for travellers visiting the Mer de Glace, the Temple de la Nature immediately became a popular tourist attraction and one of European Romanticism’s most recognizable landmarks. It normally took travellers two and half hours by mule to ascend from Chamonix to the Montanvers meadow, located 1915 meters above sea-level. Accompanied by guides and porters, they often rested half-way at Claudine’s fountain, named after the heroine of Jean-Pierre Claris de Florian’s Claudine, nouvelle savoyarde (1793), before braving a ravine infamous for its avalanches. At the refuge, they were welcomed by a resident shepherd and could take refreshments, including milk mixed with kirsch, or purchase crystals, stone paper weights, and other curiosities. The most popular activity, however, was looking through the visitor book, leaving one’s own name with comments, but also copying the choicest inscriptions. A visit to the Temple de la Nature thus enabled ordinary tourists and celebrities alike to admire one of the Alps’ most spectacular glaciers in the last years of the Little Ice Age, while also participating in the period’s vibrant album culture and contributing through it to a transEuropean tourist sensibility.

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May 8, 2020November 28, 2021

Transcript of Poems, by John Keats

Contributor: Deidre Lynch

Location: Cambridge, Massachusetts, U.S.A.

Description: Though its title page, imaged here, identifies this as the book Romanticists know as Keats’s debut volume, and though the pages following this one contain, in the identical order and layout, each line of verse that Poems, by John Keats contained in 1817, this is not that book, not exactly. This handwritten transcription of Poems was created in 1828, seven years after Keats’s death. It was commissioned by the poet’s friend Charles Cowden Clarke, who presented it to his sister, the juvenile fiction author Isabella Jane Towers, as a birthday gift. (A notice on the page facing the book’s half-title commemorates Clarke’s gift.) As a consequence of this arrangement this book has, as this title page informs us, both an author –John Keats– and a writer, J. C. Stephens (likely a professional scrivener), whose name is referenced at the foot of the page, along with Towers’s.

The value of Clarke’s gift appears to have derived as much from the labours of that writer’s pen as from the literary content the pen conveyed. For Towers did not require this transcription as a reading copy: a (printed) copy of Poems with her ownership signature can be found at Keats House in Hampstead. Why then was this book created? It is hard to say. What we can say is that its existence challenges some of our usual assumptions about Romantic-period books and European book-culture.

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May 1, 2020November 28, 2021

A Fragment of a Letter in Jane Austen’s Hand

Contributor: Kathryn Sutherland

Location: Jane Austen’s House, Chawton, Hampshire, England

Description: This fragment is a single leaf, pages 1 and 2 (20 + 20 lines; 281 words) of a letter bifolium, of which the second leaf is missing. The paper is weak at the original folds, with a short tear at the head. There is no signature, no date, and no address. An origin-address and date [‘From Hans Place | Nov. 29 1814’] have been added in pencil in another hand at the upper edge of page 1. The ink (iron gall) is bright, showing little evidence of light exposure. Written in Jane Austen’s clear, round hand, the leaf corresponds to the first section of Letter 112 in the authoritative Oxford edition. Austen writes from her brother Henry’s London home to her niece Anna Lefroy. The fragment opens ‘I am very much obliged to you, my dear Anna’; it ends at the foot of page 2 with the words: ‘& hugs Mr Younge delightfully’. In between, Austen discusses her social life during a London stay that includes a disappointing trip to the theatre (‘I fancy I want something more than can be. Acting seldom satisfies me. I took two Pocket handkerchiefs, but had very little occasion for either’). These two pages are a resilient survival of an act of loving destruction, representing the largest part of a four-page letter, dismembered for keepsakes, into at least five portions, one of which is now lost; two are in the British Library’s Charnwood Autograph Collection; and a further portion was sold at Sotheby’s into private hands on 11 July 2017, at which time the present portion failed to sell. We might see the dismemberment, private, and public fortunes of this letter as an expression in miniature of the fate and import of Austen’s letters, and indeed celebrity authors’ letters, more generally.

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April 24, 2020November 28, 2021

Wordsworth’s Wishing-Gate

Contributor: Jeff Cowton

Location: The old Grasmere – Rydal Turnpike Road, Grasmere

Description: ‘Wordsworth’s Wishing-gate’, and what remains of it, tells a paradigmatic Romantic story of literary tourism in the heart of the English Lake District in the mid nineteenth century.

By the middle of the nineteenth century, literary pilgrimages around Britain were already popular with tourists from home and abroad. As Nicola J. Watson writes: ‘The French poet and scholar Auguste Angellier remarked on the huge numbers of literary pilgrims who came to Britain from the four corners of the world to pay homage to the country’s writers.’ From the 1820s, such tourists came to the Lakes in search of Wordsworth: the man himself and the places associated with his poetry. ‘Strangers’, as tourists were then addressed, were encouraged by published guidebooks to call on the poet at his Rydal Mount home for personal tours of his garden. An image showing Wordsworth standing in his library was included in a popular set of prints in the 1830s; by the 1850s his name was synonymous with the area: ‘Wordsworth Country’. One particular place of pilgrimage was ‘The Wishing Gate’, a humble farm gate on the old turnpike road overlooking Grasmere lake, just five minutes’ walk from Dove Cottage which the Wordsworths had made their home between 1799 and 1808.

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April 23, 2020November 28, 2021

The Hellespont

Contributor: Catriona Seth

Location: Turkey

Description: The name ‘Dardanelles’ might make you think of a busy shipping canal or of the site of a deadly First World War campaign. The ‘Hellespont’, which refers to the same body of water, might lead you to Hero and Leander’s sad story, recounted in classical sources, but also revived by Christopher Marlowe in 1598)or by Leigh Hunt in 1819. Both terms refer to a single strait. At its narrowest—where its currents are extremely strong—it is 1.2 kilometres across. Whilst it was made famous in myth and in history for tragic deaths, the site is also important for having offered Byron an occasion to accomplish a seemingly heroic act—swimming safely across—and to use this as an occasion for self-publicity which tells us something about how he viewed himself as an individual and as an author.

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April 23, 2020November 28, 2021

Victor Hugo’s House in Pasaia

Contributor: Juan Manuel Ibeas-Altamira

Location: Pasaia, Spain

Description (English): On July 18th 1843, Victor Hugo set out on his customary annual summer trip. With Juliette Drouet he headed for Gavarnie, Luz and Cauterets. The head of the French Romantics took notes on the way. As he crossed the border he was remembering the Hugo family’s previous stay in Spain: a trip towards the exotic was also a return to childhood.

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April 17, 2020November 28, 2021

Memorial to Giustiniana Wynne in Angelo Quirini’s Garden

Contributors: Rotraud von Kulessa and Catriona Seth

Location: Unknown (probably destroyed), Italy

Description: Giustiniana Wynne (1737-1791) was a true cosmopolitan from the moment of her birth in Venice, to a ‘Greek’ local woman (born in Lefkos) and an English baronet. The list of her friends and lovers reads like a Who’s Who of the republic of letters from her ‘caro Memmo’, the Venetian patrician Andrea Memmo (1729-1793) who was her first love in the 1750s, to the young William Beckford (1760-1844) when he was touring Europe, 30 years later. She was briefly betrothed to the wealthy French Fermier-Général La Poupelinière (1693-1762). The adventurer Giacomo Casanova (1725-1798) recounts in his Memoirs how he failed to help her abort an illegitimate child but tricked her into having sex with him. She married the elderly Austrian ambassador to the Serenissima, Count Orsini von Rosenberg (1691-1765) and once widowed spent much of her time during her final years with Senator Angelo Quirini (1721-1796). Her literary collaborator was sometime government spy Bartolomeo Benincasa (1746-1816). She entertained the poets Melchiore Cesarotti (1730-1808) who reviewed her 1788 novel Les Morlaques, and Ippolito Pindemonte. Lady Mary Wortley Montagu and Leopold Mozart are amongst those who refer to her in their letters.

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April 9, 2020November 28, 2021

A Lock of Goethe’s Hair

Contributors: Nick Hearn and Susan Reynolds

Location: Taylor Institution Library, Oxford, UK

Description: The Taylor Institution Library has many treasures – chiefly books — but among the many rare and valuable items in the Rare Books Room one stands out. It is the item recorded in the catalogue with the shelfmark MS.8º.G.26. It is not a book or a manuscript as the shelf-mark would suggest but a lock of hair – supposedly a lock of Goethe’s hair! So it would seem that in the Taylor Institution Library, not only do we have an extensive collection of works by and about the greatest of all German poets, Johann Wolfgang von Goethe (1749-1832), but in the depths of the library in our Rare Books Room, we have a lock of the great man’s hair! It is most likely the slip of paper with the portrait which has been classified. The little portrait, an oval piece of paper with a simple line drawing of Goethe added later is, however, an understated minimally delineated presence possibly sketched by the same person who put the sprig of hair in that gilded frame.

The star attraction – the main event — is that elongated wispy sprig of hair delicately piercing the backing paper below and itself framing a faded bloom. There are two inscriptions accompanying the lock of hair – one of them, the older one, mentions the time of year – March. It seems likely, as Professor Henrike Laehnemann notes, that the dried flower is a violet, given the time of year mentioned on the accompanying inscription. It is an intriguing ensemble – portrait, violet, lock of hair accompanied rather like some medieval relic by two inscriptions testifying to its authenticity like a secular equivalent of the medieval cedula where the name of a saint was noted and then tied to the relic.

What is the origin of these items? What do they mean? Can it really be true that this is a lock of Goethe’s hair? How did the Taylor Institution Library come by a lock of Goethe’s hair? Is it authentic? To begin to answer these questions we must look at the inscriptions.

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