FLORIN
WEBSITE
©
JULIA
BOLTON HOLLOWAY, AUREO ANELLO
ASSOCIATION,
1997-2010: FLORENCE'S
'ENGLISH' CEMETERY
|| BIBLIOTECA
E BOTTEGA FIORETTA MAZZEI
|| ELIZABETH
BARRETT BROWNING || FLORENCE
IN SEPIA || BRUNETTO
LATINO, DANTE
ALIGHIERI AND GEOFFREY CHAUCER
|| E-BOOKS
|| ANGLO-ITALIAN
STUDIES
|| CITY AND
BOOK
I,II,
III,
IV || NON-PROFIT
GUIDE TO COMMERCE IN FLORENCE
|| AUREO
ANELLO,
CATALOGUE Lecture, Little
Rock, 28 February 2007
IRON
CHAIN, GOLDEN RING
ELIZABETH BARRETT BROWNING'S
'ENGLISH' CEMETERY IN FLORENCE
I wish to express my gratitude to all of
you
for being allowed to write and say these words, to Little Rock for the
courage in which you led the United States to what Elizabeth Barrett
Browning called 'man's ideal sense', and to Michael Kleine for his book
on my book.

Elizabeth Barrett Browning came from
a family of Jamaican slave-owners. She hated slavery. She married
Robert Browning 12 September 1845. His similar slave-owning family came
from St Kitts. The couple immediately fled England for Italy, settling
in Florence where she
died 15 years later.
Elizabeth knew she was herself part Black from her slave-trading
Moulton grandfather. She guessed that Robert was part Jewish, praising
his Bells and Pomegranates as
from Aaron's High Priestly robe. When pregnant in Pisa, before coming
to live in Florence, she wrote The Runaway Slave at Pilgrim's Point,
speaking
in
the
voice of a raped Black slave who then kills her white
child.

The first Duke of Florence,
Alessandro
de' Medici, whose bones lie in one of the two tombs sculpted by
Michelangelo, the
one to Lorenzo, Duke of Urbino, his supposed father, the one that
has the statues of Dusk and Dawn, was himself the son of Simonetta, a black slave. But
his father was more probably Lorenzo's brother, Giulio de' Medici who
became Pope Clement VII. Elizabeth constantly referred to that statue
by Michelangelo of Dawn, who wakes in anguish, discussing it and
Michelangelo's poetry about it in Casa Guidi Widnows, and giving it as
title to her epic novel, Aurora Leigh.
For this reason,
among others, I believe, Florence became a place of
openness, of tolerance, and of immense creativity. So many who knew
each other eventually came to live and to die in Florence and be buried
here, among them Elizabeth Barrett Browning, Theodosia Trollope, Hiram
Powers, Maurice Baruch, and Isa Blagden. They turned, by the alchemy of
poetry and sculpture, the iron chain of slavery, the barrier of
discimination, into the golden ring of
freedom.

This is the 'English' Cemetery, where
Elizabeth Barrett Browning and her friends are
buried, in a recent photograph, its oval
having been designed at the Risorgimento by Giuseppe Poggi. Behind, to
the center, you can see the studio of Michele Gordigiani who painted
the famous portraits of Elizabeth Barrett and Robert Browning.

But when Elizabeth was buried here 1 July 1861, this
is how the Cemetery then looked, nestled up against
the
great medieval wall built by Arnoldo di Cambio and Michelangelo that
Poggi would later tear down. Robert
and
their son Pen Browning, Isa Blagden and Robert Lytton, who would become
Viceroy of India, the Trollopes, the Powers, the Storys, Kate Field
and many others
were present on that day at
her graveside, but not Walter Savage Landor, as they had forgot to send
a carriage for the old King-Lear-like poet. Robert Browning never again
visited her grave side, indeed interfered with the very beautiful tomb
for her Frederic Lord Leighton designed for her, Robert seeing to it
that her name was not present on it, only her initials, and that the
intended portrait became as unlike hers as was possible.
Leighton, however, paid tribute to Elizabeth's passion for
the freeing of the slaves by showing in the marble a broken slave
shackle.

Leighton Sketch Book, Royal Academy Library
__
__
Greek
Lyre
Christian
Harp
Hebrew
Harp
Tragedy and
Comedy
Cross
Jubilee
with
Broken
Slave Shackle

Indeed, several of the
ex-patriot
women of the
Anglo-Florentine
circle came of mixed blood, different colours and other faiths,
being
therefore scarcely marriageable in English society. Elizabeth herself
referred
to her part slave ancestry. Maurice (Moisé)
Baruch, the conscientious librarian of the English Church in Florence,
found his resting place in the English Cemetery, buried by the
Anglican
Reverend Tottenham, his tomb inscribed in English and in German, the
latter
in fraktura script in 1867. Thomas Adolphus Trollope noted that the Hungarian
patriot Ferencz
Pulszky's talented beautiful Viennese wife, Therese Walther, was
Jewish. While Thomas Adolphus' friend, Isa Blagden, and his own wife,
Theodosia
Garrow
Trollope,
were part Jewish, part East Indian. Nathaniel Hawthorne creates
a
composite
of these in the exotic and beautiful character of Miriam
in The Marble Faun.
There
were
.
.
. stories about
Miriam’s
origin and previous life . . . It was said, for example, that Miriam
was
the daughter and heiress of a great Jewish banker, (an idea perhaps
suggested
by a certain rich Oriental character in her face,) and had fled her
paternal
home to escape a union with a cousin, the heir of another of that
golden
brotherhood; the object being to retain their vast accumulation of
wealth
within the family . . . According to a[nother] . . ., she was the
offspring
of a Southern American planter, who had given her an elaborate
education
and endowed her with his wealth; but the one burning drop of African
blood
in her veins so affected her with a sense of ignominy, that she
relinquished
all and fled her country . . .
Elizabeth Barrett Browning described Isa Blagden's hospitable home
in Bellosguardo
with its view down upon Florence as that for her heroines, Aurora Leigh
and Marian Erle. Henry James likewise delighted in visiting this
vibrant exotic hostess. John Brett's fine painting from Isa's balcony
includes
the medieval walls as they were then, and huddled outside of them, to
our left, the
Hebrew Cemetery.

Robert Lytton,
who had attended
Elizabeth's
funeral along with Isa, was the son of Edward Bulwer-Lytton, had
published
poetry under the name of 'Owen Meredith' and became Viceroy of India.

Elizabeth
had hoped Lytton would marry Isa Blagden, for she had saved his life
one summer
in Bagni di Lucca, when the Brownings were also there, but Isa's mixed
blood, part Jewish, part East Indian, prevented the match.
They both wrote works about their romance: Lytton's Lucile, a kind of Aurora Leigh, in verse; Isa's Agnes Tremorne in
prose. I am hoping someone will write a book about Isa
and Lytton.
In Florence, because
of its openness,
both English and Americans could be friends of each other more
readily than could have been the case in either England or in America.
Among Florence's residents was Hiram Powers, whose sculpture the 'Greek
Slave' was the very centre of the 1851 Crystal Palace Exhibition,

In the Collection of the
Corcoran
Gallery of Art. Gift of William Wilson Corcoran.
whose 'America' was not accepted by
Congress because he showed her trampling on slave chains,

and whose 'Last of the Tribes' is
exquisite.

He was himself part Native American and
Elizabeth speaks of his great flashing eyes, while the brilliant artist
Sophia Peabody, married to Nathaniel Hawthorne, studied sculpture under
him.

Elizabeth Barrett Browning saw his
sculpture of the 'Greek Slave' in
his studio in Florence and was so moved by it that she wrote this
sonnet.

In the Collection of the
Corcoran
Gallery of Art. Gift of William Wilson Corcoran.
They
say
Ideal
Beauty cannot enter
The
house
of
anguish. On the threshold stands
An
alien
Image
with the shackled hands,
Called
the
Greek
Slave: as if the sculptor meant her,
(That
passionless
perfection
which he lent her,
Shadowed,
not
darkened,
where the sill expands)
To,
so,
confront
men’s crimes in different lands,
With
man’s
ideal
sense. Pierce to the centre,
Art’s
fiery
finger!
– and break up erelong
The
serfdom
of
this world! Appeal, fair stone,
From
God’s
pure
heights of beauty, against man’s wrong!
Catch
up
in
thy divine face, not alone
East
griefs
but
west, - and strike and shame the strong,
By
thunders
of
white silence, overthrown!
Elizabeth is speaking here against slavery in America, in
Russia.
Buried also in our Swiss-owned
so-called
'English' Cemetery, amongst servants from England, serfs from Russia,
is Nadezhda, who came at 14 to Florence, a Black slave from Nubia,
who was baptized in a Russian Orthodox family and who lies beneath a
most beautiful Orthodox cross in white marble, her story told in
Cyrillic on its base. We recall that Pushkin, who wrote of a friend as
buried under the sweet myrtle of Italy at Leghorn, was himself the
grandson of 'Tsar Peter's Negro'.

'Zdes' pokoitsja telo/
negritjanki
Kalimy/ vo Sv. Kresenii/ Nadezdy/ privezennoj vo Florenciju iz Nubii/ v
1827 godu . . . 1851// Primi mja Gospodi/ vo Carstvie Tvoe'/Qui
giacciono
le spoglie mortali della nera Kalima, nel Santo/ Battesimo chiamata
Nadezda
(Speranza) che è stata portata a Firenze dalla Nubia nel 1827 .
. 1851, Accoglila Signore nel Tuo Regno/
Mary Somerville buried
her husband William here in July of 1860, being interred herself later
in a magnificent tomb in
Naples. Her husband's father, a Scottish clergyman and historian, wrote
powerful essays against slavery. We recall that Scotland was an
integral part of the slaves, sugar, rum triangle, still giving us our
Dundee marmalade. Now Mary Fairfax Somerville, with no
university education, merely a few months of school where she was
placed
in an iron contraption for her spine, discovered two planets and taught
mathematics to Ada Lovelace,
Lord Byron's daughter, who then, with Charles Babbage, invented the
computer. At least that is what IBM told us back in the 1950s in
Silicon
Valley,
where I was in college. Mary's books are exquisitely written -
and were used as science textbooks by the University of Cambridge in
the Victorian period. At 92, Mary regretted she would not live to see
the end of the disgrace to humanity that is slavery. When I was at the
UNESCO conference on computers
and culture in St Petersburg two years ago we found many of us were
women and/or Blacks, seizing this new information technology for our
freedom.

The Admiral Sir Fleetwood
Broughton Reyolds Pellew buried his Creole wife and heiress, the
daughter of Lady Holland, Harriet Webster Pellew, here in August, 1849,
having her tomb sculpted by Félicie de Fauveau, the Royalist
sculptress living in exile following her imprisonment in France, in
Florence. She also sculpted his tomb when he died in Marseilles, July,
1861, placing on it his father's Coat of Arms won through the victory
of the Battle of Algiers against Moroccan slave traders. I tried to
tell my childhood friend, Godfrey Webster, of these tombs but my letter
reached him in Brazil too late. I had already told Godfrey, an Old
Etonian, of his Creole ancestry. We had grown up together at Battle
Abbey to which he should have been heir, had not the Trust sold it. We
found Félicie de Fauveau's sculpure in photographs owned by Lord
Crawford in Scotland, for she had willed them to his ancestor, the
great art historian who had lived in Florence, Lord Lindsay. The tombs
themselves have been vandalized.


*
On 28 December 1827, the
ship 'Edward' had set sail
from the Port of London for the Port of New Orleans. On board were
Frances Trollope, 40, Cecilia Trollope, 12, Emily Trollope, 10, Henry
Trollope, 14, all English, Frances Wright, 28, American, and August
Hervieu, 23, French. Frances Wright, associated with Lafayette, had
invited the Trollopes to Nashoba where she had a settlement for the
education of Negro slaves. Auguste Hervieu, a brilliant young artist,
was the children's tutor and companion. With them also were Hester Rust
and William Abbott, their servants. Often Hervieu had to sell his art
to feed and house them all.
Fanny and her family next voyaged up the Mississippi to Natchez and
then
through the forests to Nashoba in Tennessee. All this became grist
to her mill in her anti-slavery novel, Jonathan Jefferson Whitlaw, or Lynch Law,
1835,
1857.
It
is not in print. It is now very rare. You can see it,
instead of read it, through Auguste Hervieu's
engravings,
which
I
have placed in a separate file so they not crash
this one.

She published Jonathan Jefferson
Whitlaw or Life on the Mississippi in 1835. Already she had
become famous for
her Domestic Manners of the Americans,
1832.
This
first
book she wrote to pay the family's debts. In it she
describes Fanny Wright's Nashoba as a place of utter desolation, no
schooling happening at all. Eventually Fanny Wright would ship these
slaves to the free Republic of Haiti.

Fanny
Trollope and her household travelled on to
Cincinnati where
she set up a Museum and a Bazaar. Hervieu set to work on a huge canvas
on General Lafayette Landing in
Cincinnati. While there she commissioned a young part Native
American genius, to sculpt Dante's Commedia
in waxworks. That began Hiram Powers' career as a sculptor of world
fame, whose Greek Slave of the 1851 Crystal Palace Exhibition is
immortalized in Elizabeth Barrett Browning's poetry.
Fanny, however, did not
like America. People then spat tobacco into
spittoons
everywhere. She loathed slavery. She also disliked American sexual
segregation.

On her way home she also
visited Niagara and Philadelphia. In
Philadelphia she
describes being allowed, during the Ladies Only Hour, to see plaster
casts of nude statues. Here we see the Trollope's maid, Hester Rust,
Fanny and her daughter Cecilia gazing at us! Or at least at Hervieu! Or
at Hiram Powers' chaste neo-Classical nudes, pulsing with freedom.

The family then returned
home to England.
In
the late 1830s early 1840s Lord Ashley, who later became Lord
Shaftesbury, was preparing the groundwork
for Parliamentary legislation against the abusive labour of children in
factories and mines in England. He asked Fanny Trollope to
investigate and
what she saw filled her with horror. Slave-owners did not kill or
cripple
their slaves, wanting to keep them alive for their labour. Factory and
mine owners treated their
child employees as expendable. Families were so poor that there would
always be replacements. Fanny saw conditions in England for
English children as demonstrably worse than what she had already
witnessed,
with horror, for slaves on American
plantations. Requested
by
Lord
Ashley
to
write in support of his work for children in factories and mines, she
published The Life and Adventures of
Michael
Armstrong, Factory Boy, in 1840.

She
and Hervieu actually
travelled to the
milltowns and she and he together witnessed the most terrible scene in
the book, where the starving children working in the mill steal from
the pigs their swill.



Richard Hengist Horne
worked with Southwood Smith on this same
campaign. He had engaged Elizabeth Barrett Browning to work with him on
A New Spirit of the Age. The
first
essay in the collection is a full length study of Southwood Smith who
advocated the use of fresh air and sunlight and slum clearance and who
came to be buried in Florence's 'English' Cemetery under a fine
obelisk, its bust by the sculptor from Kentucky, Joel Tanner Hart.

Other essays in that two
volume collection, The New Spirit of
the Age, included those on Elizabeth
Barrett Browning, Robert Browning, Alfred Tennyson, William Wordsworth,
and Fanny Trollope. Most of these were accompanied by signed portrait
engravings. Elizabeth had those of Browning and Tennyson framed and
placed on her Wimpole Street mantelpiece.
aaa
She had jokingly proposed to both of them in her 1844 poem, Lady
Geraldine's
Courtship, before meeting either poet, when speaking of her
heroine
reading with her lover hero, of
Tennyson's
enchanted
reverie,
-
Or from Browning some
'Pomegranate',
which if cut deep down the middle
Shows a heart within
blood-tinctured,
of a veined humanity! -
Thus she proposed
marriage to
both
of them, not having met either of them, in her Lady Geraldine's Courtship. It was Robert who
responded to those lines, dashing off his first love letter to her. Whenever he came a'courting
she instructed her brothers to
turn both portraits to the wall. She also, for Hengist Horne, for
Southwood Smith and for Lord Ashley, composed
'The Cry of the Children' which was read in the House of Lords and
translated into Russian by Dosteivsky's brother Mikhail.
The
couple became friends with the Tennysons. These two
engravings from Hengist Horne's New
Spirit
of the Age, which she had helped edit in her Wimpole Street
sickroom,
of
Lord Tennyson, Poet Laureate, and Robert Browning, author of Paracelsus, would be
joined
on the mantlepiece in Casa Guidi by Dante Gabriel Rossetti's sketch of
Tennyson reading 'Maud', at which the Brownings were present, October
1855. Robert, meanwhile,
furnished
the
vast room in Florence in which Elizabeth wrote (and which she said was
'like a room
in a novel') with antiques, including its great gold-framed mirror, and
paintings, many pieces resulting from the suppression of monasteries,
bought
in San Lorenzo Market where, one day, he found 'The Old Yellow Book'
about a man's murder of
his wife. I have argued elsewhere that Robert may have been responsible
for Elizabeth's death.

Fanny
Trollope had written the first anti-slave novel with Jonathan Jefferson Whitlaw, the
American Richard Hildreth wrote the second one, The Slave, publishing it within six
months of hers. Harriet Beecher Stowe, who came to Cincinatti after
Fanny Trollope had left from there, copied both their novels in her Uncle Tom's Cabin, 'the little book
that started the great war'. Hildreth is buried near his fellow
Unitarian Theodore
Parker, who had preached so passionately against slavery that
Frederick Douglass, who liked to visit the tombs of famed
Abolitionists, came straight from Florence's railroad station to it.
The busts of both Parker and Southwood Smith are sculpted by yet
another American in Florence, Joel Tanner Hart, who came from Kentucky.
My own legal name, 'Holloway', to my shame, comes from a Kentucky
slave-owning Quaker family. To my pride, I share it with a Black
Princetonian, formerly President of the Whig-Clio Society, America's
oldest
debating club, who came to me when I taught there to ask if we might be
related. I almost said, 'Thee should be Dwight X, I Julia X. For
neither of us is "Holloway" our true name'.
The English
Cemetery, Florence's 'God's Acre' for foreigners,
where Harriet
Webster
Pellew
was
buried
in August, 1849, Kalima
Nadezhda De Santis was
buried in August, 1851, Theodore
Parker in May, 1860, William Somerville in July, 1860, Elizabeth
Barrett
Browning in July, 1861, Admiral Fleetwood Broughton
Reynolds Pellew in July,
1861,
Southwood Smith in December, 1861, Fanny
Trollope
in October, 1863, Theodosia Trollope in April, 1865, Richard Hildreth
in July, 1865, Hiram Powers in June, 1873, has
monuments celebrating the writers of books, the sculptors of statues,
of those who hated slavery and child abuse with a passion and who all
interconnect, who were each others' friends. I had to resuscitate
Elizabeth Barrett Browning's strong
poetry from oblivion, insisting on editing her, rather than writing yet
another sentimental love story as biography, sweeping unwanted facts
under
the carpet. It was because of my edition with Penguin of her poetry,
that I was given the Gatehouse of the English Cemetery in exchange for
being its Director. Fanny Trollope's anti-slavery novel has not been in
print for decades. It thoroughly deserves its re-publication. Hiram
Powers'
sculpture fell from grace, was even rejected by the United States'
Congress because of its political desire to continue slavery. Our
Swiss-owned Cemetery is a window on to American history, on to English
history, on to Italian history, on to world
history. It is,
perhaps,
through our Cemetery, itself so much at risk to being closed and
abandoned, that we can find truth, and write it again true,
instead of false. That we can turn, through
the alchemy of freedom, iron shackles into golden rings.
For further texts and readings against slavery:
John Woolman, Plea
for the Poor Now also an mp3 reading at http://www.umilta.net/Woolman1.mp3
-
http://www.umilta.net/Woolman4.mp3
Elizabeth Barrett Browning, The Runaway Slave at
Pilgrim's Point Now also an mp3 reading at http://www.florin.ms/ebb5.mp3
Elizabeth Barrett Browning, 'Hiram Powers' Greek Slave' http://www.florin.ms/ebb1.mp3
FLORIN
WEBSITE
©
JULIA
BOLTON HOLLOWAY, AUREO ANELLO
ASSOCIATION,
1997-2010: FLORENCE'S
'ENGLISH' CEMETERY
|| BIBLIOTECA
E BOTTEGA FIORETTA MAZZEI
|| ELIZABETH
BARRETT BROWNING || FLORENCE
IN SEPIA || BRUNETTO
LATINO, DANTE
ALIGHIERI AND GEOFFREY CHAUCER
|| E-BOOKS
|| ANGLO-ITALIAN
STUDIES
|| CITY AND
BOOK
I,II,
III,
IV || NON-PROFIT
GUIDE TO COMMERCE IN FLORENCE
||
AUREO ANELLO,
CATALOGUE