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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George Eliot’s Piano

A piano, belonging to George Eliot

Contributor: Delia da Sousa Correa

Location: Herbert Art Gallery & Museum, Coventry.

Description: Purchased on 22 November 1869 for the 50th birthday of the novelist George Eliot by her partner George Henry Lewes, this Broadwood piano was delivered to a grieving household. Lewes’s middle son, Thornfield, had returned from farming in Africa with a painful illness and had died, aged 25, just a month previously. It was a period when neither Eliot, who was writing Middlemarch, nor Lewes, were able to work. That the piano was purchased then, indicates that it represented something of deep significance. Not surprisingly, no flurry of references to the new piano fills Eliot’s correspondence at this date. Fittingly however, the piano has an implied presence as a source of solace a decade later when, on the first anniversary of Lewes’s own death, a line in Eliot’s diary for 8 Sept 1879 reads simply: ‘Darwin. Schubert’ (Journals, 180). ‘Darwin’ may denote a visitor, or his books; Schubert she must have been playing at the piano. Eliot’s journal further records that she had ‘Touched the piano for the first time’ after Lewes’ death on 27th May (Journals, 175). This piano is, however, representative not just of the personal importance for George Eliot of Romantic music but of its significance for numerous areas of Victorian culture in Britain.

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Basilica of Santa Croce, Florence

Interior of the Basilica of Santa Croce

Contributor: Francesca Benatti

Location: Piazza Santa Croce, Florence

Description: The Basilica of Santa Croce is a late 13th-century Gothic church in Florence, probably designed by architect Arnolfo di Cambio. Home to the Franciscan order in Florence, it contains significant artworks by, among others, Giotto, Donatello, Brunelleschi and Vasari. From the mid 15th century onwards, Santa Croce became the burial place of some of the most prominent literary, artistic and scientific figures from Tuscany and later, the rest of Italy. In the early nineteenth century, it boasted the tombs of Niccolò Machiavelli, Michelangelo Buonarroti, Galileo Galilei and Vittorio Alfieri, the latter completed by Antonio Canova in 1810. These burials attracted the attention of Romantic authors across Europe, who variously interpreted them as metaphors of the state of Italy and for the nature of artistic fame.

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The Eudiometer at Tintern

The Cavendish Eudiometer

Contributor: Tim Fulford

Location: The Wye Valley/The Royal Institution

Description: In 1800 a man inspired by Wordsworth’s visionary poetry made a trip to Tintern Abbey. Based in Bristol, he was a friend of Coleridge and Southey and was in the midst of editing Lyrical Ballads for the press; he also wrote nature verse in his own right. He was employed, however, not as a poet but as a scientific enquirer, and on his excursion to the river Wye he was armed with an improved eudiometer—the best instrument for measuring the proportion of oxygen, the gas first isolated by Joseph Priestley, in the atmosphere. ‘The Eudiometer’, he wrote, ‘that I have lately used is a very simple & commodious one – It consists of a tube about 5 inches long containing 200 grains of water – The space between the 140 & 180 grains is graduated. – This tube is emptied of water in an atmosphere when you wish to know its composition & plunged into a solution of muriate or sulphate of iron impregnated with Nitrous gas.’(1) He was Humphry Davy…

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