Two French clocks depicting Paul et Virginie

Contributor: Hélène Cussac

Location: Collection Baronne et Baron François Duesberg, Musée François Duesberg, Mons, Belgium/Private Collection, France.

Description: Paul et Virginie, the novella by Bernardin de Saint-Pierre, published in 1788 and a best-seller throughout the 19th Century, was particularly celebrated by the decorative arts. Saint-Pierre’s pastorale, which speaks of moral values such as innocence, virtue, charity, the family and work, corresponded perfectly to the bourgeois values developed at the end of the ‘Ancien Régime’. It catered also on the one hand to a pronounced taste for the exotic, which the story offered thanks to its setting in the natural countryside of the Île de France (Mauritius) and, on the other, to contemporary interest in the concept of the ‘noble savage’ as represented by the enslaved Africans, actors in the fiction. Hence fans, plates, screens, magic lanterns, armchairs and sofas covered in toile de Jouy, and wallpapers were decorated with episodes from the novel. From the period of the Directoire, through the Empire and the Restoration, one ornamental object was particularly fashionable : the clock, decorated with characters in the story. This remarkable clock was ordered by Napoleon Bonaparte in 1802 with a view to gifting it to Bernardin de Saint-Pierre himself.

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A Remarkable Notebook: Coleridge’s Companion in Malta

An open page of the Malta notebook

Contributor: Jeff Cowton

Location: Dove Cottage, Grasmere

Description: The ‘Malta Notebook’, as this manuscript has become known, measures 177 x 120 x 38mm and is bound in vellum. It has one hundred and eighty-six leaves of hand-made paper of different tints, written mostly on both sides, and holding about eight thousand lines of poetry of Wordsworth’s unpublished work at that time. It is the result of an intense period of sorting, assimilation and copying of verses involving William, Dorothy and Mary Wordsworth in February and March of 1804. Significantly, it is a gift of love from the Dove Cottage household to Samuel Taylor Coleridge, their close friend and fellow poet, to be his companion during his forthcoming time in the Mediterranean.

Taken together, it is one of the greatest treasures in the Wordsworth Trust’s Designated Collection.

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Bettine! (Or a Letter Without Text)

Contributor: Anne Bohnenkamp, Frankfurt am Main (Deutsches Romantik-Museum

Location: Frankfurt am Main (Germany)

Description: Letters belong to the most important media of the Romantic era. Apart from the general rise of private correspondence in the 18th century, which was marked by profound social, political and technical change, specific characteristics of the Romantic movement are responsible for the growing importance of letters in this period. These include characteristic tendencies of border transgressions – such as to abolish the distinction between life and art, to declare life a work of art and art as life, so that the distinction between private letters and works of art begins to blur. Last but not least emerging forms of female authorship frequently operate with the medium of the letter because it allows the author to disguise their claim to produce a literary work, which was still considered to be a very inappropriate aspiration for women. Today, the letters of the Romantic period give us intimate insights into the communication between the protagonists of this era.

This letter that Prince Hermann von Pückler-Muskau in Frankfurt am Main wrote on July 16, 1834, is addressed to “Frau von Arnim / née Fräulein Brentano / frey / in Berlin.” This handwritten inscription can be found on the reverse of the sheet shown here. The recipient of the letter – Bettine von Arnim, née Brentano – is one of the most important female authors of Romanticism in the German-speaking world. Her published work consists almost exclusively of ‘letter books’. Her “epistolary worlds of desire” combine a documentary impression with imaginative inventions forming “fantasy correspondences”, which are based in part on letters that were actually exchanged.

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Lord Byron’s Memoirs

Lord Byron's Memoirs

Contributor: Francesca Benatti

Location: no longer extant

Description: On the 11th of October, 1819, Thomas Moore left Venice, headed for Ferrara. He was carrying one of the most infamous lost objects of European Romanticism: Byron’s manuscript memoirs. Moore agreed not to publish the Memoirs during Byron’s lifetime, but he was left free, in Byron’s words “to do whatever you please” with it after his death. Byron later supplemented the Memoirs with further additions, which he sent to Moore by post. The two did not know it at the time, but they were never to meet again face to face.

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A Claude Glass

A Claude Glass

Contributor: Ellen Harvey

Location: Brooklyn, New York, USA

Description: Looking at this photograph of my husband holding a Claude glass reflecting Manhattan as seen from our Brooklyn rooftop, I can’t help thinking how much my feelings about both the view in the mirror and the mirror itself have changed. For the last months, during the lock-down, Manhattan has hung like an inaccessible mirage across the river, first uncannily silent, now backed with the low drone of the protests sparked by the killing of George Floyd. A dark mirror means something different in dark times.

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A medal commemorating the performance of Viganò’s ballet Prometeo in 1814

A medal commemorating the performance of Viganò’s ballet Prometeo in 1814

Contributor: Lilla Maria Crisafulli

Location: In the possession of the author

Description: This medal, struck in 1817, commemorates the work of one of the greatest dancers and choreographers of  ballet history, creator of the so-called choreodrama, Salvatore Viganò (1769-1821). It reads:

A SALVATORE VIGANO’ / IMPAREGGIABILE COREOGRAFO/ CHE COLLA/  RAPPRESENTAZIONE DEL PROMETEO/  DATA  L’ AN MDCCCXIV/  NEL REGIO TEATRO DI MILANO / IMMORTALATOSI. /TANTA GLORIA. NELLA MIRRA / E NEL PSAMMI / BRILLANTE. TVTTAVIA / SOSTIENE/  GLI AMMIRATORI DEL BELLO/ SACRAVANO MERITATAMENTE/  NEL MDCCCXVII.

[TO SALVATORE VIGANO’ SUPREME CHOREOGRAPHER WHO WAS IMMORTALIZED FOR THE STAGING  OF HIS PROMETEO  IN THE YEAR 1814  IN THE ROYAL THEATRE OF MILAN. MUCH GLORY FOR HIS MIRRA  AND BRILLIANT IN PSAMMI. HOWEVER ADMIRERS OF THE BEAUTIFUL PRAISED HIM DESERVEDLY IN 1817.]

Viganò’s Prometeo opened on 22 May 1813 and met with an unprecedented popular triumph. This ballet was one of Viganò’s fantastic-allegorical dances that Ritorni calls pantomimo-dramas, transitional ballets located somewhere between the ballet en action and the danced poem. In all, Viganò composed more than 40 ballets of which 15 were these pantomimo-dramas, heroic dances or grand ballets animated by hero-comic or tragicomic actions. The so-called “passo d’azione alla Viganò“ [pas en action à la Viganò] was to dance what Wagner’s infinite melody was to opera. The ballet entirely danced à la Viganò disappeared with his death in 1821, until, a century later, the Russians rediscovered it, and used it as a basis for their choreographies. Admiration for Salvatore Viganò and his revolutionary dance had a lot to do with Percy Bysshe Shelley’s Italian experience and underlies the expression of his revolutionary poetics in Prometheus Unbound (1820).

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The Flora Danica Dinner Service

The Flora Danica dinner service

Contributor: Cian Duffy

Location: Royal residences in Copenhagen (Christiansborg, Amalienborg and Rosenborg).

Description: According to (disputed) tradition, Crown Prince Frederik of Denmark commissioned the 1895-piece Flora Danica dinner service in 1790 as a gift for Catherine the Great, Empress of Russia.  Frederik, the son of Christian VII of Denmark and Caroline Matilda of Great Britain, had ruled Denmark as regent since 1784, following the collapse of his father’s mental health; his mother – ‘poor Matilda’, as Wollstonecraft called her in her Letters written during a Short Residence (1796) – had been divorced and exiled from Denmark in 1772 when her affair with Johann Friedrich Struensee, the king’s physician, was exposed.  In 1790, Danish-Russian relations were reeling from the Russo-Swedish War (1788-90), during which Denmark-Norway declared its neutrality despite having committed to a defensive alliance with Russia under the Treaty of Tsarskoye Selo (1773). (1) Frederik’s extravagant gift, so the story goes, was intended to help patch the rift – and no doubt also to eclipse the 980-piece creamware ‘Frog Service’, which had been presented to Catherine the Great in 1774 by the Staffordshire-based Wedgwood Company.

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The volcanic fissure of Lakagígar, Iceland

The volcanic fissure of Lakagígar, Iceland

Contributor: Tess Somervell

Location: Vatnajökull National Park, Iceland

Description: Lakagígar is a 27km-long volcanic fissure in Iceland. The name means ‘craters of Laki’, after Mount Laki, the highest point at the centre of the fissure. Lakagígar was formed through a huge eruption in 1783-4 that had massive environmental, social, and cultural consequences for Iceland and indeed the rest of Europe, and which leaves a record in early Romantic literature.

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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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