Livre d’or de la Flégère

Livre d’or de la Flégère Visitor Book

Contributor: Patrick Vincent

Location: Musée Alpin, Chamonix

Description: The Livre d’or de La Flégère, a 635-page, folio-sized, leather-bound book held at the Musée Alpin in Chamonix, is one of the few extant alpine visitor books from the first half of the nineteenth century, and the only one to cover such a wide time span. It contains over fifteen thousand names, comments in various languages, and roughly a hundred and fifty poems, sketches, and doodles, offering us rare insight into the cultural practices of European Romantic travel as well as the concomitant commoditizing of the Alps. Belonging to what historian Kevin James has described as ‘an experimental space of self-exposure’ with its well-established dramaturgy, visitor books such as this one played a central role in disseminating and democratizing the Romantic Sublime.

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A Mauchline Binding

An edition of Scott’s Marmion in Mauchline binding, bearing the inscription of its owner.

Contributor: Bill Bell

Location: National Library of Scotland, Edinburgh

Description: This object is tied to Abbotsford, the home of Walter Scott, a globally famous literary tourist destination in Britain. It not only embodies the connection between literature and place, but negotiates, in quite explicit ways, some of the tensions between conceiving of literature  in an age of mass consumption and recognising the intimate experience of the pilgrim reader.

This is a fairly common edition of Sir Walter Scott’s Marmion, printed and published in Edinburgh by the firm of Adam and Charles Black in 1873, and now held in the National Library of Scotland in Edinburgh. Marmion, originally published in 1808, remained at the end of the nineteenth century, along with The Lady of the Lake and The Lay of the Last Minstrel, one of the most popular works of Walter Scott and one of the most celebrated works of English Romantic poetry. Black’s was associated with the author through the multi-volume Waverley novels that they had produced in their thousands since the mid nineteenth century. In 1871, they had produced a lavish 25 volume centenary edition of Scott’s works.

What makes this item unusual in the first instance is its covers, and in the second an inscription by its first owner.

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The Offices of the Minerva Press, Leadenhall Street

Watercolour Image of The Offices of the Minerva Press, Leadenhall Street

Contributor: Anthony Mandal

Location: Paul Mellon Collection, Yale Center for British Art, Yale University, New Haven, Connecticut.

Description: This engraving shows Leadenhall Street in the City of London at the close of the eighteenth century. Today, the thoroughfare is primarily associated with banking and finance; then, Leadenhall Street was one of the publishing centres of Romantic London. Dominating the image on the right is the unmistakable, pillared building of the East India House (demolished in 1861 and now the site of Lloyd’s of London). A block away, opposite the pink building near the back of the image, was No. 33, Leadenhall Street. It was here that William Lane (1738–1814) established his Minerva Press and Library in 1773, a major influence on the Romantic book trade and a key player in the history of fiction. This illustration appeared around 1799, during the golden age of the Minerva Press that spanned the 1790s to the 1810s. Yet, no image of the Minerva Press survives, and nor do its archives. The only traces that remain are the books and circulating library catalogues that the press produced. Still, these reveal the extent to which the output of the Minerva Press depended on translation and adaptation both to sell to British readers and to sell across Europe, and other evidence underscores the press’s market penetration in continental Europe.

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Dorothy’s Room (2018) created by Louise Ann Wilson

Image of Dorothy's Room art installation

Contributor: Louise Ann Wilson

Location: Rydal Mount, Ambleside

Dorothy’s Room (2018) is an immersive, multi-media installation made in response to Dorothy Wordsworth’s Rydal Journals, written between (1824 -1835) whilst she was living at Rydal Mount near Ambleside.

The installation makes material Dorothy’s deeply-felt longing to be outside when, due to illness she was bedroom bound for long periods, and also reveal how she was able to walk her longed-for landscapes by using the ‘power’ of her imagination.

The installation was originally created for Dorothy Wordsworth’s bedroom at Rydal Mount, Ambleside, Cumbria where she lived with William and Mary Wordsworth from 1813 until her death in 1850, before transferring to the Wordsworth Trust Museum, Grasmere, the Peter Scott Gallery, Lancaster and the Royal Geographical Society, London.

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Newstead Abbey: Lord Byron’s Inspiration

Contributor: Simon Brown

Location: Newstead, Nottinghamshire, UK

Description: Newstead Abbey was Lord Byron’s ancestral home, nestled in the isolated landscape of Nottinghamshire.

Byron’s attachments in his short life were always transient, and usually deeply powerful. That was true of his affections for people, objects or places. But he had an extraordinary capacity to see beauty and inspiration in everything around him, and absorb that into his work and his actions.

Newstead is a hugely significant example of that. He lived there for only a small proportion of his tragically short life. Yet Newstead’s influence on him was huge, and his influence on Newstead is, of course, timeless.

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A handwritten poem and sketch by famous Polish novelist Kazimierz Bujnicki (1788-1878) in the album amicorum belonging to the young countess Michalina Weyssenhoff

Contributor: Teresa Rączka-Jeziorska

Location: The Adam Mickiewicz Museum of Literature in Warsaw

Description: These pages of manuscript come from a richly ornamented and once padlocked carmine book from the years 1815-1841, held since 1996 in the collection of the Adam Mickiewicz Museum of Literature in Warsaw. On these pages, we can see a verse by Kazimierz Bujnicki, a talented literary doyen of Polish Romanticism. This small, handy canvas and paper object, partially covered in leather with sophisticated ornamentation, the back and cover of which bore a gilded plant motif, suggests to us today a girl’s intimate diary or a secret casket. Such items in the first half of the 19th century were usually referred to as an “autograph book”, an “album amicorum”, or a “Stammbuch”. This particular example belonged to Michalina of Weyssenhoff Targońska (1803-1880), niece of General Jan Weyssenhoff (1774-1848), who was a participant in the Kościuszko Uprising (1794), the Napoleonic Wars and the November Uprising (1830-1831). Although she did not, as was the romantic fashion of the period, place a knot of hair or dried flowers into her album amicorum, she kept equally precious treasures of memory within it. It bears witness, indeed, to the Romantic culture of memory given a patriotic turn.

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‘A View of Abbotsford from across the Tweed’

‘A View of Abbotsford from across the Tweed’

Contributor: Kirsty Archer-Thompson FSA Scot

Location: Abbotsford, the Home of Sir Walter Scott, Melrose

Description: This small and relatively unassuming painting of Abbotsford reads like a picturesque painting by numbers, with the long shadows and repoussoir tree in the foreground, an ethereal light falling on the house in the middle distance, and the receding outlines of the Eildon hills beyond, enveloped in cloud. Three figures are visible in the foreground: one astride a horse, another intently sketching or reading on the riverbank and the other casting for a fish in the Tweed. They are a curiously disconnected group of people, with the two that face the house very much ensconced in their inner worlds. On the opposite side of the riverbank, a flock of sheep complete the pastoral idyll, congregated around the Italianate stable block with its pitched roof. Above that, the house rises out of a crop of well-established shrubbery and tree cover. The building itself is executed remarkably accurately in its architecture and scale.

However, all is not quite as it seems. All the evidence suggests that this startlingly accurate painting predates the completion of the house’s east extension. What you are looking at is not so much documentation as something that is, or at least became, a very powerful piece of Romantic propaganda.

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Holograph Letter from Adam Smith to David Hume

Holograph Letter from Adam Smith to David Hume. Four pages with section cut out.

Contributor: Carmen Casaliggi

Location: Archives & Special Collections, University of Glasgow Library, Hillhead Street, Glasgow, United Kingdom. Part of the Bannerman Collection donated by J. P. Bannerman and G. W. MacFarlane in c. 1937.

Description: Writing to David Hume from Toulouse in September 1765, Adam Smith forcefully tried to dissuade him from settling in Paris. Written in Smith’s hand, this letter opens with the amicable salutation “My Dear friend”, unusually intimate at this date between a younger man and an older one, and ends on page four with no subscription (final greetings) and no superscription (address). The signature on the verso has been cut out, probably by an autograph-hunter with the result that several lines are missing. However, as the sender’s name “Adam Smith”, written in Smith’s own hand, remains intact on the same page (upside down), I would suggest that the decimated part could instead pertain to the “hold their tongues” section on page three, where there were possibly allusions to politically sensitive names and material. This letter expresses a proto-Romantic nationalism and regionalism asserted in the face of transnational cosmopolitanism generated by émigré experiences and European encounters. It also epitomises the medium of exchange that extended salon culture transnationally.

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Beethoven’s Ear Trumpets

Beethoven's Ear Trumpets

Contributor: Robert Samuels

Location: Beethoven-Haus Bonn (Bonngasse 24-26, 53111 Bonn)

Description: The deaf composer is perhaps the most perfectly Romantic image of the transcendent genius. His music exists in his thought – his thought is, indeed, entirely musical. But this music exists only in the mind. The composer has no need to hear it in the phenomenal world, because he hears it already, perfectly, with the inner ear of the intellect.

Four hearing aids made for Beethoven in 1813 reside today in the Beethoven museum in Bonn, the city of his birth. They symbolise the most important element of the myth of Beethoven, a myth that was created and cultivated assiduously by the architects of Romanticism. Victor Hugo, no less, commented of Beethoven’s symphonies that ‘these marvels of euphony have sprung from a head whose ear is dead. It is as if we saw a blind god who creates suns’. As physical objects, however, the ear trumpets also testify to the pathos of an individual who today we would describe as having ‘additional needs’ rather than ‘transcendent powers’.

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Harlequin’s Invasion, 1803

Broadside of Harlequin’s Invasion,1803

Contributor: David Taylor

Location: The Huntington Library, San Marino, California

Description: At a glance, this looks like a standard early nineteenth-century playbill. But it’s not. In fact, it’s a nationalistic broadside published during the invasion scare of the summer of 1803 – when it was widely feared that Napoleon was readying a fleet to cross the English Channel – and it closely mimics the typographic format and language of the playbill to make its point. The work of arch-loyalist James Asperne – who ran a bookshop in Cornhill, London, with the strikingly unsubtle name of The Bible, Crown, and Constitution – this mock-playbill informs the public of a new pantomime “In rehearsal” at the “Theatre Royal of the United Kingdom” – that is, a drama to be staged in and by the nation itself. “Some dark foggy night about November next,” the playbill exclaims, “will be ATTEMPTED, by a Strolling Company of French Vagrants, an old Pantomimic Farce, called Harlequin’s Invasion or The Disappointed Banditti”.

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