Contributor: Clare Brant
Location: Royal Academy of Arts, Burlington House, London
Description: ‘I wandered lonely as a cloud’: the first line (and proper title) of Wordsworth’s poem about daffodils (pub.1807) has epitomised Romantic poetry for generations of English schoolchildren (and for some, created resistance to it.) What made clouds Romantic? Why did poets and artists across Europe follow William Wordsworth (1770-1850) and John Constable (1776-1837) in making them subjects of Romantic poems and paintings?
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Contributor: Matthew Sangster
Location: British Library, London
Description: Richard Horwood’s vast PLAN of the Cities of LONDON and WESTMINSTER the Borough of SOUTHWARK, and PARTS adjoining Shewing every HOUSE, a project commenced in 1790 and finally completed in 1799, touches upon many suggestive contradictions between Romantic ideologies and the print culture of the period in which these were theorised. The Plan is deeply Romantic in terms of its reach and ambition: a house-by-house map of the largest city in Europe surveyed and engraved by one man over a period of nearly a decade. Horwood himself was keen to stress the novelty and grandeur of his endeavour: his prospectus described the Plan as an undertaking ‘ON A PRINCIPLE NEVER BEFORE ATTEMPTED’ and when writing to the Society for the Encouragement of Arts, Manufacture and Commerce in an attempt to secure a premium for his work, he played up the physical and mental effort it had required:
The execution of it has cost me nine years severe labour and indefatigable perseverance; and these years formed the most valuable part of my life. I took every angle; measured almost every line; and after that, plotted and compared the whole work. The engraving, considering the immense mass of work, is, I flatter myself, well done.
Continue reading “Every House of the Ant-Hill on the Plain: Richard Horwood’s London”
Contributor: Jeff Cowton
Location: The Wordsworth Trust, Grasmere
Description: In 1799, when they were both in their late twenties, William and Dorothy Wordsworth moved to make a new life together in Dove Cottage, Grasmere, UK. In May 1800, William left Grasmere for a short absence and Dorothy decided to write a journal for his ‘pleasure’ when he returned. So began a journal that she continued to write for the next thirty or so months. Four notebooks survive; a fifth, covering most of 1801, is now missing. Written largely within the Dove Cottage household, the journal contains Dorothy’s vivid observations of domestic life, her neighbourhood and the natural world, from the mundane to the extraordinary, from the sixth delivery of the coal, to the remarkable sight of reflections off the lake. As a result, as the UNESCO UK Memory of the World register entry puts it, ‘From the journal we can picture the scene of brother and sister walking, talking, reading and writing together. It is an intimate portrait of a life in a place which, to them, was an earthly paradise.’ It not only provides evidence for the nature of the relationship between brother and sister but for their creative working practices. The two pages shown here offer clues to two mysteries: the genesis of one of the most important of all Romantic poems, known popularly as ‘Daffodils’; and why Dorothy left off writing her Journal.
Continue reading “Two pages from Dorothy Wordsworth’s Grasmere Journal“