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New: Dante vivo || White Silence

Library Catalogue: TAU, ת Mediatheca 'Fioretta Mazzei', 'English' Cemetery, Florence, Italy
libtau=Cemeteries, Gardens

ת Tau=sign, cross, 400


ALEPH=Bible Commentaries/ Hebraism, Islam/ Alphabet, Babylonian/Egyptian, Hebrew Bible, Greek Testament, Bible, Early Christianity, Desert Fathers, Greek/Russian Orthodoxy, Latin Christianity, Celtic Christianity, Anglo-Saxon Christianity, Hagiography, Medieval, Renaissance Bible, Women in Christianity, Liturgy/Cathechism/Magisterium, Church Today, Modern Contemplative Theology, Modern Hagiography/Biography, Comparative Religions, Children
BETH
=Monastic Orders: Benedictine, Brigittine, Carmelite, Carthusian, Dominican, Franciscan/ Clarissan, Newer Orders, Modern Communities, Anglican || Medieval Studies, Women in Middle Ages, Beguine, Anchoress, Hermit, Julian of Norwich, Oblates of Santa Francesca Romana, Pilgrimage, Lollard, Quaker, etc.
GIMEL
=Modern Languages: French, Spanish, || Russian, Portuguese, German, Dictionaries || Grammars, Handbooks on Style || Florence's Political Theologians: Don Giulio Facibeni, Giorgio La Pira, Fioretta Mazzei, Pietro Parigi, Don Lorenzo Milani, Giannozzo Pucci, Amicizia Ebraico-Cristiana, Rom || 'English' Cemetery || MLA International Bibliography
PE=Classics, Greek, Latin, Medieval Latin, Provençal: Italian Literature: Brunetto Latino, Dante Alighieri; Italian History; Italian Travel; Italian Art.
DALETH=Icelandic and British Literature: Icelandic, Old English, Welsh, Arthurian, Anglo-Norman, Middle English, Drama, Chaucer, Langland, Pearl, Renaissance, Seventeenth Century, Eighteenth Century, Blake, Nineteenth Century, keyed to tombs in Cemetery; Biographies and Letters, Short Story and Novel, Florence and Foreigners, English, American German, Polish.Criticism
HE
=Twentieth Century Literature, Poetry, Trauma, Women, Australian, Black, Native American ||
VAU
=Music, Theatre, Dance || Glorney Bolton, Eileen Bolton, Julia Bolton Holloway publications
ZAYIN
=Travel, Art History, Codicology/ Paleography, Handcrafts
KHETH
=Electronic and Microform Library, e-books on-line, CDs in library, microfilms of medieval and nineteenth-century manuscripts, slides, etc.
LAMED= Education
TET
=Offprints, Journals, etc.
SHIN=Swiss Archives of the 'English' Cemetery

TAU=Cemeteries, Gardens

TAU=Cemeteries, Gardens


*= libri troppo grandi e messo orizontale sul scaffale.

Il Cimitero degli Inglesi:

All'ombra de' Cipressi e dentro l'urne: I cimiteri urbani in Europa a duecentiìo anni dall'edito di Saint Cloud. Bologna: Bononia University Press, 2007. P. 155. Grazia Gobbi Sica, Firenze, 2004.

Paolo Ciampi. Gli Occhi di Firenze. Udine: Botteghe Errante Editore, 2019. P. 54.

Paolo Ciampi. "A Firenze: La mia Spoon River". La regale marginalità. Saluzzo: Fusta Editore, 2017. P. 275

Graziella Cirri. Guida ai Cimiteri privati di Firenze. Firenze: Nuova Toscana Editrice, 2006. P. 21.

Judi Culbertson and Tom Randall. Permanent Italians: An Illustrated, Biographical Guide to the Cemeteries of Italy. New York: Walker,  1996. P. 129.

Firenze: Guida ei musei della città e della Provincia
. Firenze: Provincia di Firenze, 2008. P. 20.

I giardini delle regine: Il mito di Firence nell'ambiente preraffaellite e nella cultura americanda fra Ottocento e Novecento. Livorno: Sillabe, 2004.

Julia Bolton Holloway. Bianco Silenzio: Il Cimitero degli Inglesi. Firenze: Aureo Anello, 2020.

Julia Bolton Holloway. Il Cimitero Protestante Svizzero a Firenze. Firenze: Aureo Anello, 2020.

Vd. anche e http://www.florin.ms/BiancoSilenzio.html, http://www.firenze.ms/WhiteSilence.html, ecc.

Silvia Huober."Suggestioni, siboli e storia del Cimitero degli Inglesi". Testimonianze: Firenze, città del mondo. 600-501, 2015. P. 93.

Io Donna. Il Femminile del Corriere della Sera.  P. 94.

Kermes. La Rivista del Restauro 96, 2015. P. 11.

Il Lyceum per Firenze. Firenze: Angelo Pontecorboli Editrice, 2021. P. 94.

Lyceum Club Internazionale di Firenze, 1908-2008. Firenze: Polistampa, 2008.

Gianluca Monastra. "Il Paradiso? Una casa con vista cimitero!Il venerdì di Ripubblica, 19 settembre 2019. P. 46.,

H.V. Morton. A Traveller in Italy. London: Methuen, 1964. P. 470.

Harry Mount. "Sister Saviour." Readers Digest. August, 2009. P. 44.

Passaporto per l'Unità d'Italia 1861-2011. P. 60.

Remember, Journey through Memories: European Cemeteries Route. ASCE (Association of Significant Cemeteries in Europe), 2018.

Paolo Sica. Fiordaliso addio. Saggi autobiografici su Firenze. Firenze: Maria Pacini Fazzi Editore, 2000. P. 225. Grazia Gobbi Sica, Firenze, 2002.

Conny Svensson. En berättelse om två stäåder Florens i dikt och verklighet. Stockholm; Atlantis, 2011. P. 79.

Vista: Special Foreigners' Issue III. 2007. P. 11.

Diana and Tony Webb. The Anglo-Florentines: The British in Tuscany, 1814-1860. London: Bloomsbury, 2020. Autographed.

The World of Interiors. 2014. P. 204.

Marc Zollinger. "Man hat seine Ruhe hier". Swiss journal.

Temi egizi:

R.O. Faulkner. The Ancient Egyptian Book of the Dead. London: British Museum Publications, 1972.

Motivi egizi nel Cimitero 'degli Inglesi a Firenze: La speranza della vita oltre la morte
. Firenze: Sillabe, 2007.

Contesto storico:

Luciano Artusi. Le antiche porte di Firenze: Alla scoperta delle mura che circondavano la città.  Firenze: Semper, 2005.

Christoph Bertsch. L'Architetto dei Lorena: Carlo Reishammer (1806-1885). Firenze: Edizioni Medicea, 1992. P. 12.

Cosimo Bargellini e Leonardo Castellucci. Firenze: Giardini per sognare. Milano: Bargello, 1990. P. 75. Dimostra lo stato di abbandono del Cimitero.

Franco Cesati. Firenze Sparita nei 120 dipinti di Fabio Borbottoni. Roma: Newton e Compton, 2003. Firenze, Ilaria Sborgi, 2004. P. 26.

Andrea Petrioli e Fabbrizio Petrioli. 1333 Firenze dova passavanto le ultime mura. Firenze: Polistampa, 2017.

Giampaolo Trotta. Luoghi di Culto non Cattolici nella Toscana dell'Ottocento. Firenze: Becocci/Scala, 1997. P. 51.

Giovan Battista Uccelli. Il Convento di S. Giusto alle mura: I Gesuati. Firenze: Tipografia delle Murate, 1865.

Contesto svizzero:

Archivio svizzero del Cimitero: http://www.florin.ms/SWISSARCHIVES.html, anche indicato a http://www.florin.ms/BiancoSilenzio.html

Alessio Artini. Archivio della Chiesa Valdese di Firenze. Firenze: Polistampa, 2002.

Pastore Tony Andre. La Chiesa Evangelica Riformata di Firenze: Dalle origini ai nostri giorni (1826-1889). Appendice I. Gustav Dalgas. Notizie Storiche sul Cimitero della Chiesa Evangelica  Riformata di Firenze a Porta a Pinti.
P. 169. Trad. Mario Marziale, 2005. Impruneta: Focus, 2006.

L'Arcadia di Arnold Bocklin: omaggio fiorentino.
Firenze: Sillabe, 2001. Maurizio Bossi, Gabinetto Vieusseux, 2001. La figlia Maria Anna era sepolta al Cimitero degli Inglesi, mai era esumata, ma la tomba ora è persa. Il dipinto, L'Isola dei Morti, è un composito, come in un sogno, di Ischia, San Michele a Venezia e la simmetria poggiana del Cimitero degli Inglesi a Firenze con i suoi cipressi: http://www.florin.ms/IslandDead.html che anche ispira la musica di Sergio Rachmaninoff.

Norman Douglas. Summer Islands: Ischia and Ponza. London: Desmond Harmsworth,1931. Syracuse University Library. Editio princeps.
 
Pastore Mario Marziale. La Chiesa Evangelic Riformata Svizzera di Firenze (1899-2013). Firenze: Pagnini Editore, 2018.

Pastore Luigi Santini. Il Cimitero Protestante detto 'degli Inglesi' in Firenze. Firenze, 1981. Multiple corrections supplied, 2021.

Pastore Luigi Santini. The Protestant Cemetery of Florence called 'The English Cemetery'. Firenze, 1981. Multiple corrections supplied, 2021.

Derno Ricci. Isola delle anime. Testi di Fosco Maraini. Firenze. Polistampa, 2001.

Olivia Rucellai. La Paglia: Intrecci svizzeri a Firenze. Firenze: Polistampa, 2001. Olivia Rucellai, Firenze, 2001.

David Taralle. Quelli dell'Amicizia: Il Circolo svizzero di Firenze, 1860-2010. Firenze: Nerbini, 2010. P. 15.

Contesto russo:

Alice Danschoch. Florence: A View from the Hill. Moscva: 2017. P. 2019.

Russkaja Florencija: La Firenze dei Russi. Firenze: Polistampa, 2000. P. 44. Maurizio Bossi, Gabinetto Vieusseux, 2000.

Restoration/Ricerca:

AArchitecture. 14. UK.

Archeofoss: Free, Libre and Open Source software e Open Format nei processi di ricerca archeologica
. A c. Patrizia Basso, Alessandra Caravale, Piergiovanna Grossi. Firenze: All'Insegna del Giglio, 2016.

Tommaso Bianco. Pietre Maestre: Elaborato tecnico riferito ai particolari di Gioia del Colle. Bari: Pro Loco, 2009.

Marta Brunelli. Heritage Interpretation: Un nuovo approccio per l'educazione al patrimonio. Macerata: Eum, 2011.

Alberto Casciani. Meridiana Restauri. Firenze, 2002.

Eleanora Gioventù. "La biorimozione delle croste ere dai materiali lapidei: comparaziond con le metodologie tradizionali ed applicazione su una scultura del Cimitero degli Inglesi di Firenze". Opificio delle Pietre Dure. Tesi, 2009.

Massa-Carrara: L'incanto di una terra fra la montagne e il mare. Camera di Commercio Industria Artigianato e Agricoltura di Massa-Carrara, 2008.

Maria Maugeri. Pietro e Niccolò Bazzanti "Negozianti di Belle Arti". Firenze: Edifir, 2000.

Luisa Passeggia. Lo studio Lazzerini: Viaggio a Carrara in tre secoli di storia. Carrara: Fondazione Cassa di Risparmio di Carrara, 2011. Gabinetto Vieusseux, Firenze, 2012.

Tra Arte e Industria: La tradizione artigiana in provincia di Massa-Carrara: In occasione del 40° anniversario della CNA di Massa-Carrara. Carrara: Cassa di Risparmio di Carrara,1997.  Assunta D'Aloi, Firenze, 2006.

Giovanni Umicini. Cervaiole: le montagne dhe vive. Seravezza: Henraux, 2008.

Romanzo:

Roberto Fuda. Fantasmi di marmo. Firenze: Roberto Fuda, 2012.

Poesia:

Allì Caracciolo. English Cemetery. Poesia. Venezia: Ei del Leone, 2000.

Julia Bolton Holloway. Poems Pennyeach. http://www.umilta.net/PoemsPennyeach.html

Eugenio Napoli. Di sentiero in sentiero. Roma: Aletti Editore, 2018. P. 61

Monica Negri. Di questa immensa fragilità. Fano: Phasar, 2007. P. 51.

Arte, incisioni e fotografia:

Eugenio Castellani. Il Cimitero degli Inglesi (tema con divagazioni). Firenze: Pegaso, 2014.

Cy DeCosse. Gioco di luce: Play of the Light. Accademia della Arti del Disegno. Firenze: Polistampa, 2001.

Angelo Ranzi. Cimitero degli Inglesi, Firenze: Tre stampe originali. Firenze: 2001.*

Isabelle Rudolph. Selective Memory. Handbound book. Circa 2008.

Linda White Terzani. Viaggiatori dell'anima: Dickens, Melville, Twain ed altri alla scoperta di Firenze: Sould TRavellers, Dickens, Melville, Twais and others on their discovery of Florence. Firenze: Casa Editrice Il Fiore, 2004.

Video:

Pastiziers: Zucher, aventura ed increschantum: Patissiers- Zucher, Heimweh, Abenteur. Regia: Manfred Ferrari, Televisiun Rumansche. 2001.

Tombe nell'Antichità:

W.R. Davenport Adams. Temples, Tombs and Monuments of Ancient Greece and Rome. London: Nelson, 1871.

M. Andronikos. The Royal Graves at Vergina. Athens, 1980.

Luca Cappucini. La Necropoli etrusca di San Germano (Gavorrano, GR): Il Tumulo 9: Dinamiche socio-culturali nel territorio di Vetulonia tra VII e II sec. a. C. Firenze: Università di Studi di Firenze, 2016.

Andrea Cardarelli. La Necropoli della Terramara di Casinalbo. Firenze: All'Insegna del Giglio, 2014.

Jean M. Davison. Seven Italic Tomb Groups from Narce. Firenze: Olschki, 1973.

Epigrafi e studi epigrafici in Filandia. A c. Heikki Solin. Roma: Institutum Romanum Finlandiae, 1998. Kim Bjorklund, Finland, 2001.

Ingo Herklotz. "Sepulcra" e "Monumenta" del Medioevo: Studi sull'arte sepolcrale in Italia. Napoli: Liguori, 2001. Assunta D'Aloi, Firenze, 2002.

Other Cemeteri
es:

A Firenze:

Graziella Cirri. Guida ai Cimiteri comunali di Firenze. Firenze: Polistampa, 2003.  P. 80, Michele Auteri-Pomar.

Graziano Concioni. Il "Liber Defunctorum" della Certosa di Firenzea altri documenti inediti dalla fondazione del Monastero alla sua chiusura (1342-1957). Lucca: Accademia Luccese di Scienze, Lettere e Arti, 2016.

Foresto Nicolai e Gabriella Contorni. Nel Silenzio di Soffiano. Firenze: Coppini, 1998.

Anne O'Brien. "Crossing Boundaries. Lady Morgan's Italy"

Anne O'Brien. "Florentine Shadows: Death Duty and Santa Croce in George Eliot's Romola". Journal of Anglo-Italian Studies 2002.

Anne O'Brien. "Il Monumento a Dante: Storia di Influssi Internazionali". Città di Vita 57, 2002.

Anne O'Brien. "S. Croce nell'occhio di viaggiatori britannici ottocenteschi. Città di Vita 56, 2001.

Anne O'Connor. Firenze: La Città e la memoria nell'Ottocento. Firenze: Città di Vita, 2008.

Anne O'Connor. Florence: City and Memory in the Nineteenth Century. Firenze: Città di Vita, 2008.

Ludovica Sebregondi. Santa Croce Sotterranea: trasformazioni e restauri. Firenze: Città di Vita, 1997. P. 54, tomba di Felicie de Faveau all'Alluvione.

Porte Sante: Il Cimitero di San Miniato a Firenze. Firenze: OpusLibri, 2001. With L'Ate della Memoria: 22 Creazioni per un percorso Artistico fra Amore e Speranza. 29 maggio-11 giugno, 2007.

A Livorno.

Matteo Giunti e Giacomo Lorenzini. Un archivio di pietra, l'antico cimitero degli inglesi di Livorno: Note storiche e progetto di restauro.  Pisa: Pacini, 2013.

I "Giardini" della Congregazione oladnese-alemanna: Memoria e fede nella Livorno delle Nationi. Livorno: Fondazione Cassa di Risparmio di Firenze, 2004.

Intercultura e protestantesimo nella Livorno delle Nazioni: La Congregazione olandese-alemanna. Firenze: Regione Toscana, 2002.

Rome, Protestant Cemetery:

Sue Brown. Joseph Severn, A Life: The Rewards of Friendship. Oxford: Oxford University Press, 2009. [Joseph Severn buried my ancestor Richard Rothwell and designed his tomb]

Vittorio and Rostwitha Di Martino. Irish Rome/ Roma Irlandese. Roma: Arbor Sapientiae, 2015/2017.

Friends of the Non-Catholic Cemetery in Rome. Newsletters.

Johan Beck-Friis. The Protestant Cemetery in Rome: The Cemetery of Artists and Poets. Il Cimitero Acattolico di Roma. Malmo: Allhems Forlag, 2008.

Guida per i visitatori, Cimitero Acattolico di Roma. Con pianta.

Inge-Lise and Steen Neergaard. Vi kom fra Dannmark: Danske gravsteder pa den ille-katolkse kirkegard i Rom. Denmark: Conradianum, 1998.

The Non-Catholic Cemetery in Rome: Its History, its people and its survival for 300 years. Rome: The Non-Catholic Cemetery in Rome, 2014.

Revalee Renick Stevens and Robert Kim Stevens. North American Records in Italy: The Protestant Cemetery of Rome. Baton Rouge: Oracle Press, 1981. Lists James Jackson Jarves, Thomas Jefferson Page, William Wetmore Story, Eliza Georgia Temple, wife of Sir Grenville Temple.

Uta Susse-Krause. Katzen in Rome auf dem Cimitero Acattolico. Petersburg: Michael Imhof Verlag, 2018.

Michail G. Talalay. "Il Cimitero del 'Testaccio' a Roma". Strenna dei Romasnisti. 2006. Autographed.

A Viareggio:

"Presenza straniere e minoranze religose a Viareggio, figure, documenti, testimonianze". Quaderni di storia e cultura viareggiana, 2, 2001

In Sicilia:

Carin Faaborg. Looking for the Sicilians. 2005.*

Stati Uniti:

Guide to the Historic Districts of Lynchburg, VA. With Explore our Legacy: A Guide to African-American Heritage in Lynchburg and Central Virginia. Also, African Burial Customs Presented by the Old City Cemetery.

Sleepy Holloway Cemetery, Concord. Materials on the Nathaniel Hawthorne Family's reburial. Judith Fichtenbaum, Concord, MA

Susan Wilson. Garden of Memories, A Guide to Historic Forest Hills. N.d.

Forest Hills Cemetery. Visitor Guide and Map. Other materials.

Others:

Bellu. The Garden of the Souls. Bucharest, 2013.

Cemeteries of Europe. A Historical Heritage to Appreciate and Restore. A c. Mauro Felicori e Annalies Zanetti. Bologna: ASCE, 2004.

Cimiteri d'Europa: Un patrimonio da conoscere e restaurare
. A c. Mauro Felicori e Annalies Zanetti. Bologna: ASCE, 2004.

Cimitero Monumentale di Lecco: Un museo a cielo aperto. Associazione Amici dei Musei del territorio Lecchese, n.d.

Cimitero Monumentale di Verona. Verona: Agec, n.d.

Eternal Momentos of Transience: Preserving Heritage Values in Historic Cemeteries. 429 Years of the Hazsongard Cemetery. 15-17 May 2014. Cluj-Naropa International Seminar.

Umberto Eco. Le Cimitière de Prague. Milano: Grasset, 2010.

Colin R. Fenn and James Slattery Kavanagh. West Norwood Cemetery's Greek Necropolis.

West Norwood Cemetery's Monumental Architecture.

Shane Mac Thomáis. Glasnevin: Ireland's Necropolis. Dublin: Glasnevin Trust, 2010. See LIBDALETH: James Joyce

Guida Storica di San Cataldo. A c. Nina Avramidou e Benedetta Maio. N.d.

Memorie della Grande Guerra. Le tombe dei caduti nel cimitero monumentale della Certosa di Bologna. A c. Mirella Cavalli. Bologna: Minerva Edizioni, 2017.

Henry Vivian-Neale. A Byron Tour at Kensall Green Cemetery. The Friends of Kensal Green Cemetery, 2006.  Entries on Anna Brownell Jameson, Hon. Augusta Leigh, Leigh Hunt, Charles Babbage, Lady Byron, John Samuel Murray, Giovanni Battista Falcieri (Tita). Byron and his daughter, Ada, Countess Lovelace, instead are buried atSt Mary Magdalene Churchyard, Hucknall, Ashfield, Nottinghamshire, while her teacher, Mary Somerville, is buried in the old English Cemetery, Naples.

General:

Augusto Conti. Gli figli del Popolo. Firenze: LEF, 1902.

Ugo Foscolo. Dei Sepolcri. Carme. Brescia: Nicolò Bettoni, 1787.*

Ugo Foscolo. I Sepolcri di Foscolo, la poesia e la fortuna. A c. Maurizio Bossi. Firenze: Gabinetto Vieusseux, 2008.

Jessica Mitford. The American Way of Death. New York: Fawcett Crest, 1963.

Post Tenebras. I Racconti del Cimitero. A c.  Fabio Nocentini.  Self published, 2004.

Anita Schorsche. Images of Childhood: An Illustrated Social History. New York: Mayflower Books, 1979.

Anita Schorsche. Mourning Becomes America: Mourning and Art in the New Nation. Exhibition and Catalogue, March 28-May 23. 1976, William Penn Memorial Museum


Writings of and about those Buried Here:
See also LIBDALETH for Elizabeth Barrett Browning, Frances Trollope, Walter Savage Landor, etc.

Louisa Catherine Adams Kuhn/ E1:

Henry Adams. The Education of Henry Adams. Boston: Houghton-Mifflin, 2000. Jeffrey Begeal, North Carolina, 2005.

Henry Adams. The Degradation of  the Democratic Dogma. Privately Printed for the Members of the Classics of Liberty Library, 1997. Arizona State University/Mesa Public Library, 2004.

Henry Adams. Mont Saint Michel and Chartres. Harmondsworth: Penguin, 1985. Caroline Carpenter, 2005.

Henry Adams. Mont Saint Michel and Chartres. London: Constable, 1904. Lisa Morelli Adimari, Firenze, 2010.

David S. Brown. The Last American Aristocrat: The Brilliant Life and Improbable Education of Henry Adams. New York; Scribner, 2020. 2021.

Robert J. Robertson. 'Louisa Catherine Adams Kuhn: Florentine Adventures'. The Massachusetts Historical Review 11 (2009), 119-151.

E1 §1117/ LOUISA CATHERINE (ADAMS) KUHN/ AMERICA
Her husband was from Philadelphia, her father, Charles Francis Adams, U.S. Minister to Great Britain during the Civil War. In Florence the couple lived in the palace in the Piazza Santa Maria Maggiore, now the Banca Popolare di Milano. Notes and Queries placed her tomb a hundred years ago as visible in Sector E.


Henry Adams' sister. Her death from tetanus in Bagni di Lucca is described in the 'Chaos' chapter of his autobiography The Education of Henry Adams:

  He had been some weeks in London when he received a telegram from his brother-in-law at the Bagni di Lucca telling him that his sister had been thrown from a cab and injured, and that he had better come on. He started that night, and reached the Bagni di Lucca on the second day. Tetanus had already set in.
  The last lesson,—the sum and term of education,—began then. He had passed through thirty years of rather varied experience without having once felt the shell of custom broken. He had never seen nature,—only her surface,—the sugar-coating that she shows to youth. Flung suddenly in his face, with the harsh brutality of chance, the terror of the blow stayed by him thenceforth for life, until repetition made it more than the will could struggle with; more than he could call on himself to bear. He found his sister, a woman of forty, as gay and brilliant in the terrors of lock-jaw as she had been in the careless fun of 1859, lying in bed in consequence of a miserable cab-accident that had bruised her foot. Hour by hour the muscles grew rigid, while the mind remained bright, until after ten days of fiendish torture she died in convulsion.
  One had heard and read a great deal about death, and even seen a little of it, and knew by heart the thousand commonplaces of religion and poetry which seemed to deaden one’s senses and veil the horror. Society being immortal, could put on immortality at will. Adams being mortal, felt only the mortality. Death took features altogether new to him, in these rich and sensuous surroundings. Nature enjoyed it, played with it, the horror added to her charm, she liked the torture, and smothered her victim with caresses. Never had one seen her so winning. The hot Italian summer brooded outside, over the market-place and the picturesque peasants, and, in the singular color of the Tuscan atmosphere, the hills and vineyards of the Apennines seemed bursting with mid-summer blood. The sick-room itself glowed with the Italian joy of life; friends filled it; no harsh northern lights pierced the soft shadows; even the dying woman shared the sense of the Italian summer, the soft, velvet air, the humor, the courage, the sensual fulness of Nature and man. She faced death, as women mostly do, bravely and even gaily, racked slowly to unconsciousness, but yielding only to violence, as a soldier sabred in battle. For many thousands of years, on these hills and plains, Nature had gone on sabring men and women with the same air of sensual pleasure.
 Impressions like these are not reasoned or catalogued in the mind; they are felt as part of violent emotion; and the mind that feels them is a different one from that which reasons; it is thought of a different power and a different person. The first serious consciousness of Nature’s gesture,—her attitude towards life,—took form then as a phantasm, a nightmare, an insanity of force. For the first time, the stage-scenery of the senses collapsed; the human mind felt itself stripped naked, vibrating in a void of shapeless energies, with resistless mass, colliding, crushing, wasting, and destroying what these same energies had created and labored from eternity to perfect. Society became fantastic, a vision of pantomime with a mechanical motion; and its so-called thought merged in the mere sense of life, and pleasure in the sense. The usual anodynes of social medicine became evident artifice. Stoicism was perhaps the best; religion was the most human; but the idea that any personal deity could find pleasure or profit in torturing a poor woman, by accident, with a fiendish cruelty known to man only in perverted and insane temperaments, could not be held for a moment. For pure blasphemy, it made pure atheism a comfort. God might be, as the Church said, a Substance, but He could not be a Person.
  With nerves strained for the first time beyond their power of tension, he slowly travelled northwards with his friends, and stopped for a few days at Ouchy to recover his balance in a new world; for the fantastic mystery of coincidences had made the world, which he thought real, mimic and reproduce the distorted nightmare of his personal horror. He did not yet know it, and he was twenty years in finding it out; but he had need of all the beauty of the Lake below and of the Alps above, to restore the finite to its place. For the first time in his life, Mont Blanc for a moment looked to him what it was,—a chaos of anarchic and purposeless forces,—and he needed days of repose to see it clothe itself again with the illusions of his senses, the white purity of its snows, the splendor of its light, and the infinity of its heavenly peace. Nature was kind; Lake Geneva was beautiful beyond itself, and the Alps put on charms real as terrors; but man became chaotic, and before the illusions of Nature were wholly restored, the illusions of Europe suddenly vanished, leaving a new world to learn.
  On July 4, all Europe had been in peace; on July 14, Europe was in full chaos of war. One felt helpless and ignorant, but one might have been king or kaiser without feeling stronger to deal with the chaos. Mr. Gladstone was as much astounded as Adams; the Emperor Napoleon was nearly as stupefied as either, and Bismarck: himself hardly knew how he did it. As education, the outbreak of the war was wholly lost on a man dealing with death hand-to-hand, who could not throw it aside to look at it across the Rhine. Only when he got up to Paris, he began to feel the approach of catastrophe. Providence set up no affiches to announce the tragedy. Under one’s eyes France cut herself adrift, and floated off, on an unknown stream, towards a less known ocean. Standing on the curb of the Boulevard, one could see as much as though one stood by the side of the Emperor or in command of an army corps. The effect was lurid. The public seemed to look on the war, as it had looked on the wars of Louis XIV and Francis I, as a branch of decorative art. The French, like true artists, always regarded war as one of the fine arts. Louis XIV practiced it; Napoleon I perfected it; and Napoleon III had till then pursued it in the same spirit with singular success. In Paris, in July, 1870, the war was brought out like an opera of Meyerbeer. One felt one’s self a supernumerary hired to fill the scene. Every evening at the theatre the comedy was interrupted by order, and one stood up by order, to join in singing the Marseillaise to order.

It was senseless, too, that Louise Kuhn's tomb seemed to be lost. Then it was discovered leaning, abandoned after an attempted robbery for its marble, against a wall so that its inscription was hidden. Daniel-Claudiu Dumitrescu and Nicolae Ovrei, under the direction of Alberto Casciani, next reconstructed it in its original place, known from the description a hundred years ago in Notes and Queries, moving the great octagonal base a great distance using the same methods as had Renaissance stone masons when raising the Obelisk at St Peters, with ropes and pulleys, no internal combustion engines, and then the damaged drum, into position, following having constructed a firm base in cement. Following this received funding to reconstruct the marble cross to replace the original one which was stolen, and for restoring the damaged surfaces of the drum.

      

    

When Henry Adams' wife, Clover Adams, committed suicide from drinking photographic developing fluid, Henry had her magnificent tomb sculpted by Augustus Saint-Gaudens, now conserved in the Smithsonian Museum, alongside of sculptures by Hiram Powers, Edmonia Lewis and William Wetmore Story:


            
                                          Gaudens' Clover Adams         Edmonia Lewis' Cleopatra     William Wetmore Story's Libyan Sibyl

Restauro, consolidamento e pulitura, Daniel-Claudiu Dumitrescu, 2016-2017. Catherine Louise Kuhn, l'Amerique// Bagni di Lucca/ III: 1865-1870 'Registre des Sepultures' avec detail des frais; Francs 82/ IV: 1871-1875 'Registre des Sepultures' avec detail des frais, Francs 603.30/ Begeal, James Lorimer Graham, Consular Records, Tetanus following a carriage accident/ Kühn/ Caterina Luisa/ / America/ Bagni di Lucca/ / / / 1117/N&Q: 468. Louisa Catherine Kuhn, ob. at the Baths of Lucca, 13 July, 1870. Sector E.. Restauro e pulitura, Dumitrescu, 2016-2017. Chiesa Evangelica Riformata Svizzera, 1827-

James Annesley/D72:

James Annesley. Researches into the Causes, Nature and Treatment of the More Prevalent Diseases of India, and of Warm Climates Generally. London: Longman, 1841.

D21P/ D72/ 381/ SIR JAMES ANNESLEY/ IRELAND
He publishes Researches into the Causes, Nature and Treatment of the More Prevalent Diseases of India, and of Warm Climates Generally, 1841 (609 pp), with a fine engraved portrait. The Notes and Queries transcription records what was intact 100 years ago but of which most is now missing from the remaining slab fragment. This tomb needs to be repaired in the same manner that Daniel-Claudiu Dumitrescu and Nicholae Ovrei under Alberto Casciani did with that for B65/ EDWARD PORTEUS, building up the centre with bricks, then placing the marble slab sides, and last the top. The piece that is inscribed with FORT ST GEORGE, LATE PRESIDENT OF THE MEDICAL BOARD AT MADRAS/ WHO DIED AT FLORENCE/ THE 15 DECEMBER 1847 is now in the collection of inscribed marble slabs. See Webbs, Anglo-Florentines, pp. 133-134.


   

Lastra parte di monumento. Marmista ignoto. Sec. XIX, post 12/1847. Ambito Toscano. Monumento in marmo, lastre con iscrizioni mancanti, lastra incisa con iscrizione posta accanto. Intervento di restauro e pulitura dopo il temporale, Daniel-Claudiu Dumitrescu, 3/2014-2015. [Monumento: A: L: P: ; Lastra: M: A: ?; L: 61.2; P: 2.2] Iscrizione sepolcrale in lingua inglese incisa in lettere capitali e numeri arabi: TO THE MEMORY/ OF/ SIR JAMES ANNESLEY KT/ OF THE MEDICAL ESTABLISHMENT [HONORABLE EAST INDIA COMPANY, FORT ST GEORGE, LATE PRESIDENT OF THE MEDICAL BOARD AT MADRAS, DIED 15 DECEMBER 1847] / Records, Guildhall Library, London: GL23774 N° 122, Sir James Annesley Death Tues 14-12, Burial, 17-12. Rev. Robbins (E101)/ Morning Chronicle, son of the late Honourable Marcus Annesley, County Down, President of the Medical Board of Madras, served on the expedition to Java, receiving the thanks of Sir Samuel Auchmuty, Commander in Chief, for his superintence of the field hospital, was head of medical staff in the Dekkan, received thanks from the Admiralty for his srvices in the Madras Roads, Cheltenham Looker-On/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: 29. Annesley/ Giacomo/ / Inghilterra/ Firenze/ 15 Dicembre/ 1847/ / 381/ N&Q 67. Sir James Annesley, Kt. of the Medical Establishment,  H.E.I.C., Fort St George, late President of the Medical Board at Madras, ob. 15 Dec 1847. Chiesa Evangelica Riformata Svizzera, 1827-present. 

Alfredo Bardazzi/F1R.4:

Alfredo Bardazzi. Poesie. Firenze, 2021.


Elizabeth Barrett Browning/B8
Books shelved in DALETH


The Brownings:

Martin Garrett. Elizabeth Barrett Browning and Robert Browning. London: The British Library, 2001. Writers' Lives. Pearl Spedding, Bath, 2011.

Paracelsus [Philippus Aureolus Theophrastus Bombastus von Hohenheim].: Selected Writings. Ed. Jolande Jacobi. Princeton: University Press, 1973. Bollingen Series XXVIII. JBH, Princeton.

David Loth. The Browning: A Victorian Idyll. New York: Brentano's, 1929. Lisa Morelli Adimari, Firenze, 2010.

Mary Sanders Pollock. Elizabeth Barrett and Robert Browning: A Creative Partnership. Aldershot: Ashgate, 2003. Mary Sanders Pollock.

Annie Thackeray Ritchie. 'Robert and Elizabeth Barrett Browning'. Harper's New Monthly Magazine, 84 (1892), 832-855. Charles F. Gould, Portland, OR, 2006.

Their Letters:

The Letters of Robert Browning and Elizabeth Barrett Barrett, 1845-1846. New York: Harper and Brothers, 1898. Vol. II, of 2 vols. JBH.

The Letters of Robert Browning and Elizabeth Barrett Browning 1845-1846 with Portraits and Facsimiles. 2 vols. New York: Harper & Brothers, 1926. Copyright Sir Edward A. Altham. Mary Rose Sullivan, Woburn, MA, 2008.

The Library seeks a copy of Vol. I. of the Letters of Robert Browning and Elizabeth Barrett Barrett.

The Brownings' Correspondence, 1809-1845. Ed. Philip Kelley and Ronald Hudson. Winfield, KS: Wedgestone Press, 1984-1992. Vols. 1-10. JBH.

Elizabeth B. Barrett, Robert Browning. D'amore e di poesia: Lettere scelte 1845-1846. A cura di Ilaria Rizzato. Milano: Archinto, 2007.

Letters of the Brownings to George Barrett. Ed. Paul Landis, Ronald E. Freeman. Urbana: University of Illinois Press, 1958. JRGB/JBH.

Biographies:

Daniel Karlin. The Courtship of Robert Browning and Elizabeth Barrett. Oxford: University Press, 1988. JBH.1990, Pearl Spedding, Bath, 2010.

Julia Markus. Dared and Done: The Marriage of Elizabeth Barrett and Robert Browning. London: Bloomsbury, 1995. Bruna Dell'Agnese, Milano, 2002.

Joanna Richardson. The Brownings: A Biography Compiled from Contemporary Sources. London: Folio Society, 1986. JBH.

Welcome to Casa Guidi/ Benvenuti a Casa Guidi. Brochure. JBH.

Edward C. McAleer. The Brownings of Casa Guidi. New York: Browning Institute, 1979. Edward McAleer, Casa Guidi. 2 copies. JBH.

Michael Meredith. Meeting the Brownings. Waco: Armstrong Browning Library, Baylor University, 1986. 2 copies. JBH.

The Armstrong Browning Library, Baylor University, Waco, Texas. Brochure. JBH.

The Browning Collections: A Reconstruction with other Memorabilia: The Library, First Works, Presentation Volumes, Manuscripts, Likenesses, Works of Art, Household and Personal Effects, and other Association items of Robert and Elizabeth Barrett Browning. Ed. Philip Kelley and Betty A. Coley. Sotheby Catalogue of Estate of R.W. Barrett Browning, Esq., of Asolo, Veneto, and La Torre all'Antella, near Florence, Italy. Waco: Armstrong Browning Library, Baylor University/ Winfield, KS: Wedgestone Press, 1984. JBH.

See Lilian Whiting.

Maisie Ward. The Tragi-Comedy of Pen Browning (1849-1912). New York: Sheed and Ward, Browning Institute, 1972.

Virginia Woold. Flush: A Bography. London: Hogarth Press, 1933. Endpapers by Vanessa Bell. First Edition. Exhibition Case.

Virginia Woolf. Flush. Biografia di un cane. Traduzione di Alessandro Scalero. Milano: Baldini, Castoldo, Dalai, 2008.

The Boston Browning Society. Organized 1885. 1993-1994, 1995-1996, 2005-2006, 2006-2007. Dr. Charles C. Dickinson III and JoAnne W. Dicksinon, Esq, Boston, 2007.

Elizabeth Barrett Browning (E12I):

Works:

Elizabeth Barrett Browning. Complete Works. Ed. Charlotte Porter and Helen A. Clarke. New York: Thomas Y. Crowell, 1900. Reprint, AMS Press. 6 vols. JBH.

Mrs Browning. The Complete Poetical Works. Ed. Harriet Waters Preston. Boston: Houghton Mifflin, 1900. Cambridge Edition. JRGB/JBH

Elizabeth Barrett Browning. The Poetical Works. London: Oxford University Press, 1920. Lisa Morelli Adimari, Firenze, 2010.

Elizabeth Barrett Browning. A Selection from the Poetry. Editied, Robert Browning. London: Smith, Elder, 1889. Hand-written note on end papers copying out Trollope, What I Remember, on EBB. Leask Ward, London, 2010.

Elizabeth Barrett Browning. A Selection from the Poetry. Editied, Robert Browning. Leipzig: Bernhard Tauchnitz, 1872. Christina Huehmer, Roma, 2006.

The Poems of Elizabeth Barrett Browning. With a Memoir by Mrs David Ogilvy. London: Frederick Warne, 1890s.

The Poetical Works of Elizabeth B. Browning, with Portrait and Illustrations. London: Collins' Clear-Type Press, n.d. Series II [AL in Series I?] Stephen Wilkinson, Florence, 2005.

Elizabeth Barrett Browning. The Complete Poetical Works. Cutchogue, NY: Buccaneer Books, 1993. Rebecca Cole-Turner, Pittsburg, 2003.

Elizabeth Barrett Browning. Aurora Leigh and Other Poems. Ed. John Robert Glorney Bolton and Julia Bolton Holloway. Harmondsworth: Penguin, 1995. See also VAU.

Elizabeth Barrett Browning. Aurora Leigh and Other Poems. Ed. Cora Kaplan. London: Women's Press, 1978. JBH.

Elizabeth Barrett Browning. Aurora Leigh and Other Poems. Aurora Leigh, A Drama of Exile, the Seraphim, Prometheus Bound. Illustrated. Frederick C. Gordon. New York: Frederick A. Stokes, 1892. JBH.

Elizabeth Barrett Browning. 'Le finestre di Casa Guidi (Casa Guidi Windows, A Poem by Elizabeth Barrett Browning)'. In Scritti inglesi della politica contemporanea. Firenze: Tipografica italiana, 1851. Pp. 237-277. Part I. Part II would have been censored by the returned Grand Duke and the Austrians. JBH, Firenze, 2011.

Elizabeth Barrett Browning. Casa Guidi Windows. Ed. Julia Markus. New York: The Browning Institute. 1977. JBH.

Elizabeth Barrett Browning. Casa Guidi Windows. London: Collins, n.d. Leask Ward, London, 2009. An exquisite edition.

Elizabeth Barrett Browning. "The Cry of the Children". Trad. Bruna Dell'Agnese. In Testo a Fronte 24 (2001), 127-139. Bruna Dell'Agnese.

Elizabeth Barrett Browning. Lady Geraldine's Courtship. Illustrated, Charles Pears. London: T.C. and E.C.Jack, n.d. JBH. Exhibition Case.

Aurora Leigh:

See Aurora Leigh microfilms: Harvard Manuscript; Princeton First English Edition Corrected for First American Edition, shelved: KHETH

Elizabeth Barrett Browning. Aurora Leigh. London: Chapman and Hall, 1866. Frontispiece, engraved portrait. Syracuse University, Florence, 2005. Exhibition Case.

Elizabeth Barrett Browning. Aurora Leigh. Ed. Charlotte Porter and Helen  A. Clarke. London: George Bell and Sons, 1902. JBH.

Elizabeth Barrett Browning. Aurora Leigh. Ed. Margaret Reynolds. Athens: Ohio University Press, 1992. JBH.
'L'avventura della traduzione': Bruna Dell'Agnese, Elizabeth Barrett Browning, Aurora Leigh, Giovanna Bemporad, Omero, Odissea, venerdì, 1 ottobre 2004. Firenze: Fondazione il Fiore, 2004. JBH.

Elizabeth Barrett Browning. Aurora Leigh: romanzo in versi. Trad. Bruna Dell'Agnese. Firenze: Le Lettere, 2002. Italiano. Bruna Dell'Agnese.

*Review in Poesia 173. ADA, Firenze, 2003.

*Fondazione il Fiore. "L'avventura della traduzione": Bruna Dell'Agnese, Elizabeth Barrett Browning, Aurora Leigh; Giovanna Bemporad, Omero, Odissea. Venerdì, 1 ottobre 2004. JBH.


Elizabeth Barrett Browning. Selected Poems. York Notes. Harlow: Pearson, 1999.

___

Sonnets from the Portuguese:

Elizabeth Barrett Browning. Sonnets from the Portuguese. Introduction and Notes, Catherine Porter and Helen A. Clarke. New York: Thomas Y. Crowell, 1933. Charles Gould, Portland, OR, 2012.

Elizabeth Barrett Browning. Sonnets from the Portuguese. Illustrated, Fred A. Mayer. New York: Crown Publisher, n.d. JBH.

Elizabeth Barrett Browning. Sonnets from the Portuguese. Mount Vernon, New York: Peter Pauper Press, n.d. Ursula Ditchburn, Scotland, 2006.

Elizabeth Barrett Browning. Sonnets from the Portuguese and Other Poems. New York: Dover, 1992. Ann Paule, Paris, 2007.

Elizabeth Barrett Browning. Sonnets from the Portuguese and Other Poems. New York: St Martin's Press, 1986. Pearl Spedman, Bath, 2008.

Elizabeth Barrett Browning. Sonetos Portugeuses. Trans. Manuel Corrêa de Barros. Lisboa: Relogio d'Agua, 1945. Anna Vicente, Lisboa, 2003. For Sonnet II read from this edition by Rodrigo Araes Caldas Farias Portugues2.mp3

Elisabeth Barrett Browning. Sonnets: Sonnets from the Portuguese. Traduits de l'anglais par Alliette Aura. Paris: Editions Correa, 1945. Eric Sanniez, Amiens, 2009.

Elizabeth Browning. Sonnets portugais. Trad. Lauraine Jungelson. Paris: Gallimard, 1994. French/English. Eric Sanniez, Amiens, 2006.

Elizabeth Barrettova-Browningova. Sonnets from the Portuguese/ Portugalske sonety. Trans. Hanna Zantovska. Bratislava: Nestor, 2001. English//Czech. Hanna Zantovska, Praga.

Elizabeth Barrett Browning. Portugal Szonettek. Trans. Kardos Laszlo. Budapest: Magyar Helkon, 1976. Alexandra Piuttye and Mate Gyurus, Budapest, 2010.

Elizabeth Barrett Browning. Sonetti dal Portoghese. Ed. Rina Sara Virgilito. Firenze: Libreria delle donne, 2005. Libreria delle donne, Firenze, 2006.

Elizabeth Barrett Browning. Sonetti dal portoghese. Trad. Bruna Dell'Agnese. Montebelluna: Amadeus, 1991. English//italiano. Bruna Dell'Agnese.

Elizabeth Barrett-Browning. Sonnette aus dem Portugiesischen. Trans. Rainer Maria Rilke. Nachwort, Elisabeth Kiderlen. Leipzig: Insel Verlag, 1991. English//Deutsch. Claudia Vitale, Firenze, 2004.

Elizabeth Barret-Browning. Sonnette aus dem Portugiesischen. Trans. Rainer Maria Rilke. Leipzig: Insel Verlag, 1991. English//Deutsch. Antonio Berni, Firenze, 2016.

We do not have the Sonnets from the Portuguese in Polish but Ewa Rajewska, Institute of Polish Philology, Adam Mickiewicz University, Poznan, Poland, kindly sent us this sample:


ELIZABETH BARRETT BROWNING XLIII

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday’s
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints, – I love thee with the breath,
Smiles, tears, of all my life! – and, if God choose,
I shall but love thee better after death.

Sonnets From the Portuguese

The Poems of Elizabeth Barrett Browning, 1850

ELŻBIETA BARRETT-BROWNING  XLIII

Przeł. Zofia Reutt-Witkowska

Jak ja cię kocham? Pozwól, sposoby wyliczę.
Do głębi i, hen, w przestrzeń i taką wyżynę,
Dokąd tylko dosięga duch mój, gdy rozwinę
Czucie za widnokręgi Piękna tajemnicze.
Kocham cię, co dnia ciebie sercu swemu życzę;
W słońca blaskach czy w świecy lśnieniach zstąp w gościnę.

Kocham, jak za Wolności walczący przyczynę,

Kocham, jak chwalby próżnej depcący słodycze.

Kocham cię dziecka wiarą, i tym ogniem łona,

Który niegdyś w żal kładłam, co sercem kolebie;

Miłością, co się zdała mych świętych stracona

Stratą, – tchem życia swego każdym kocham ciebie,

Łzą, uśmiechem! – wyroku jeśli Bóg dokona,

Kochać cię lepiej mogę li po śmierci, w niebie.


Sonety
, 1924

ELIZABETH BARRETT BROWNING  XLII

Przeł. Ludmiła Marjańska

 

Jak ciebie kocham? Pozwól, niech wyliczę.

Kocham głęboko, daleko, jak zbiec

Potrafi dusza, gdy nie musi wlec

Dawnych pęt, po kres bytu i łaski najwyższej.

Kocham spełnieniem twych potrzeb i życzeń

Codziennych. Kocham w słońcu i przy blasku świec.

Kocham śmiało, jak ludzie walczą, by praw strzec.
Kocham czysto, dla czystych pochwały są niczem.
Kocham cię z namiętnością, jaką w życia próg

Wchodząc, miałam dla trosk mych. I z ufnością dzieci.

Kocham miłością, jaką wzbudzać mógł

Rząd utraconych świętych. Dopóki tchu w piersi,

Kocham łzą, śmiechem, życiem! A gdy zechce Bóg,

Będę cię jeszcze bardziej kochała po śmierci.


Sonety z portugalskiego

Poezje wybrane, 1976


The Library seeks other translations of the Sonnets from the Portuguese and we are profoundly grateful for all these contributions.

Diary:

The Early Diary of Elizabeth Barrett Browning: The Barretts at Hope End. Ed. Elizabeth Berridge. London: Murray, 1974. Pearl and Keith Spedding, Bath, 2017.

Letters:

The Letters of Elizabeth Barrett Browning. Ed. Frederic G. Kenyon. New York: Macmillan Company, 1899. 2 copies. JBH.

The Letters of Elizabeth Barrett Browning to her Sister Arabella. Ed. Scott Lewis. 2 vols. Waco: Wedgestone Press, 2002.
Michael Meredith, Eton College, 2006.

Elizabeth Barrett Browning's Letters to Mrs David Ogilvy. With Recollections by Mrs David Ogilvy. Ed. Peter N. Heydon and Philip Kelley. New York: Browning Institute, 1973. JBH.

Elizabeth Barrett to Miss Mitford: The Unpublished Letters of Elizabeth Barrett Barrett to Mary Russell Mitford. Ed. Betty Miller. London: John Murray, 1954. JRGB/JBH.

The Letters of Elizabeth Barrett Browning to Mary Russell Mitford 1836-1854. Ed. Meredith B. Raymond and Mary Rose Sullivan. 3 vols. Waco: Armstrong Browning Library, 1983. Mary Rose Sullivan, Woburn, MA, 2008.

Katerine Gaja. "Scrivendo nel marmo: lettere inedite tra Elizabeth Barrett Browning e Hiram Powers". Antologia Vieusseux Nuova serie IX, 25-26 (2003), 31-65. Katerine Gaja, Firenze, 2004.


B12-13I/ B8/ 737/
ELIZABETH BARRETT BROWNING/
JAMAICA/ENGLAND

I have written elsewhere on Elizabeth Barrett Browning, especially in the notes to our edition for Penguin of Aurora Leigh and Other Poems, but also in the essay on her death and burial, ebbdeath.html of which the following excerpt is relevant to this virtual e-book on our tombs.
In her last letter, which breaks off unfinished, Robert halting it, we witness exhaustion (Kenyon, II.448-450). 

In 1860, posing with her son Penini, she could still smile.

The terrible last photographs taken in Rome show her with emaciated deathhead, despite the crinoline and curls. In 1861, the year of her death, we see a prematurely aged Corinne in front of a painted backdrop of Rome's Colosseum (Arabella II.533). She was only fifty-five, though pretending to the even younger forty-five, and having packed into those years the writing of an epic poem longer than Homer's Odyssey, marriage, and a son. In May of that year, Hans Christian Andersen visited them, commenting on how ill Elizabeth looked (Arabella II.536). Her last poem, 'North and South', was about him, for the children played with Robert his Pied Piper of Hamelyn, processing through the rooms, and listened to Andersen's Ugly Duckling. But between these two dates, 1860-1861, is also the publication of her poem, 'A Musical Instrument'. Robert felt Elizabeth's poetic gift had ended, saying to her brother George in a letter written from Asolo, 22 October, 1889, 'the publication of "Aurora Leigh" preceded by five years the death of its writer - who was never likely to produce such another work', he being her literary agent during their marriage and following her death. But one of those last disparaged works was illustrated by Frederic Leighton for the Cornhill Magazine and this poem, 'A Musical Instrument', is of interest as a meta-poem, a statement about her poetic craft and her marriage. It is also a poem in which Elizabeth takes up a theme she has often used before, drawing on her classical and Christian learning, on the 'Great God Pan'. Pan, we recall, is that chimaera, part beast, part man, related to centaurs, satyrs and fauns, EBB speaking of Flush as 'Faunus', and echoing Milton on the death of the pagan Gods in 'The Morning of Christ's Nativity', both borrowing from Plutarch's 'De oraculorum defectu', in her 'Great Pan is Dead', and the Hawthornes noting that Robert is the Faun, Donatello, of the Marble Faun. This is Frederic Lord Leighton's fine illustration from the July 1860 Cornhill Magazine:

pan

And this is Elizabeth's poem, "A Musical Instrument" that it illustrates:

WhiteSilence      

What was he doing, the great god Pan,
  Down in the reeds by the river?
Spreading ruin and scattering ban,
Splashing and paddling with hoofs of a goat,
And breaking the golden lilies afloat
  With the dragon-fly on the river.

He tore out a reed, the great god Pan,
  From the deep cool bed of the river:
The limpid water turbidly ran,
And the broken lilies a-dying lay,
And the dragon-fly had fled away,
  Ere he brought it out from the river.

High on the shore sat the great god Pan
  While turbidly flowed the river;
And hacked and hewed as a great god can,
With his hard bleak steel at the patient reed,
Till there was not a sign of the leaf indeed
  To prove it fresh from the river.

He cut it short, did the great god Pan,
  (How tall it stood in the river!)
Then drew the pith, like the heart of man
Steadily from the outside ring,
And notched the poor dry empty thing
  In holes, as he sat by the river.

. . . 

Yet half a beast is the great god Pan,
  To laugh as he sits by the river,
Making a poet out of a man:
The true gods sigh for the cost and pain, -
For the reed which grows nevermore again
  As a reed with the reeds in the river.

The verse about cutting the reed evokes The Runaway Slave at Pilgrim Point and the slashing at the sugar cane by slaves with their machetes. Robert, at Bagni di Lucca, would similarly swim in the river, at the time she had shyly presented him her superlative love Sonnets - which he immediately published, the best-selling Sonnets from the Portuguese. In Pythagorean teaching there are two kinds of musical instruments, the harp, which is Reason, and the wind instrument, which is Nature, about the world of procreation and sexuality. Yet in this poem Elizabeth seems to be speaking of her life and its thwarted sexuality as a sacrifice - which is killing her - for the sake of her art. We recall after five pregnancies, four of which ended in miscarriages, sex had to be given up. The poem is very close indeed in its verbal echoes to her magnificent translation of Apuleius' 'Cupid and Psyche', this section where Pan rescues Psyche from her suicidal despair, telling her to love innocently. We recall Elizabeth  was a fine Classical and Hebrew scholar. But if so it is now re-written away from the Apuleian version towards that in Ovid, where Pan seeks to rape a nymph, who becomes a reed, which he then mutilates for his instrument upon which to play.
She leaves further clues about this poem's meaning. Thomas Adolphus Trollope in What I Remember (II. 175-179), his delightful gossipy book about the Anglo-Florentines, describes finding enclosed amongst Isa Blagden(B42)'s letters,
WhiteSilence

one from Mrs Browning which is of the highest interest.
. . .
'Dearest Isa, - Very gentle my critic is; I am glad I got him out of you. But tell dear Mr Trollope he is wrong nevertheless
. . . There is an inward reflection and refraction of the heats of life . . . doubling pains and pleasures, doubling therefore the motives (passions) of life. I have said something of this in Aurora Leigh. Also there is a passion for essential truth (as apprehended) and a necessity for speaking it out at all risks, inconvenient to personal peace. Add to this and much else the loss of the sweet unconscious cool privacy among the 'reeds' . . . which I care so much for - the loss of the privilege of being glad or sorry, ill or well, without a 'notice.' . . . Yes! and be sure, Isa, that the 'true gods sigh' and have reason to sigh, for the cost and pain of it; sigh only . . . don't haggle over the cost; don't grudge a crazia, but . . . sigh, sigh . . . while they pay honestly. . . .

But he is a beast up to the waist; yes, Mr Trollope, a beast. He is not a true god.
And I am neither god nor beast, if you please - only a
                                                                                                             Ba
Elizabeth's comment about the 'passion for essential truth (as apprehended) and a necessity for speaking it out at all risks, inconvenient to personal peace' is in reference to the Greek concept she well knew of parrhesia, the obligation to speak the truth, at personal risk, for the common good, so closely related to eleutheria, to freedom. This is the classic principle, discussed by I.F. Stone in The Trial of Socrates and by Michel Foucault in a lecture he gave at the University of Colorado, Boulder, shortly before his death, a concept lived today by Daniel Ellsberg, Julian Assange, Bradley Manning and Edward Snowden.
We can see that Frederic Leighton, friend to both Robert and Elizabeth, has brilliantly understood her poem in his engraving. When Leighton in the following year was to design Elizabeth's tomb he seems not to refer to Pan or to the other chimaera, but instead only to have it abound with harps, Greek, Hebrew and Christian, in reference to her great learning from her early childhood in Classics. the Bible and theology. Yet his first and Greek harp has two opposing faces, one serene, the other distorted, which at first I thought were meant for Tragedy and Comedy though I was uneasy about that identification. Then, one morning, we visited the Giardino Torrigiani in Florence, close to Casa Guidi, where Elizabeth would visit and which Leighton would have known from his student days at the Accademia delle Belle Arti, where Isa Blagden and Frederic Tennyson, the Poet Laureate's brother, would stay. And there is the god Pan, a bust upon a stele, one side of his face distorted, the other serene, the two profiles to be seen again on the Leighton harp. While on the stele are garlands about panpipes cut from a reed from a river bed.
Towards the end Elizabeth is deeply affected by her sister Henrietta's death from cancer, then that of Cavour's. Robert is wanting to see his father and sister, living in Paris (his father had lost a legal suit for breach of promise to marry a widow following the death of his wife, forcing the family to live on the Continent in exile for him to avoid prison). Elizabeth's doctor, the Pole, Gresanowsky, warns Robert in Rome that Elizabeth by no means may make this journey to Paris and Elizabeth writes sadly to Arabella, 11 June, with this news (II.536-538), concerned for its effect on Robert. She had hoped her brothers could come to meet them there. (One wonders why Robert's father and sister and Elizabeth's brothers and sister did not come to visit her at Casa Guidi, given her frailty.) Then, on 15 June, she again writes to Arabella, with more vivacity and a long discourse on Christianity, includingspeaking of her opposition to dogmas such as the XXXIX Articles of the Church of England (II.541-542). A Dissenter from the Church of England, she had already had her son baptised by Pastor Droin of the Swiss Evangelical Reformed Church in Florence.

Lilian Whiting would write Kate Field's biography, composing it from her letters, publishing it in Boston in 1900 as Kate Field: A Record. This is the eye-witness account Kate, the young American journalist, gave in two letters written to her aunt concerning Elizabeth Barrett Browning's death and burial:

                                                                                        Florence, June 29th, 1861
I am sick, sick at heart, for dear Mrs. Browning is dead. The news was as sudden as it is dreadful, for though she has been quite ill for a week past, yet her health has always been so feeble that I firmly believed she would rally as of yore. . .  Yesterday Mrs. Browning said that she felt better, read a little in the "Athenaeum" and saw Miss Blagden as late as eight o'clock in the evening, who left her with but little misgiving. This morning, at half-past four, she expired unconsciously to herself with the words, "It is beautiful," upon her lips. Poor Mr. Browning was entirely unprepared for the terrible blow. When she raised herself to pronounce her dying words wherein she expressed the glorious life which was opening upon her, he thought it was simply a movement premonitory to coughing. I have not seen him, but Miss Blagden, who is constantly with him, says he is completely prostrated with grief. The poor boy wanders about the house, sad, and disconsolate, hardly realising that his angel mother is no more. We went to the house the moment we heard of Mrs. Browning's death, but could be of no use. All that we did was to buy flowers and consecrate them by placing them around all that is left of one who was too pure to remain longer in this world. They have cut off all her hair, and the emaciated form was heart-rending to look upon. I almost regret that I have seen her in death, only that I do not wish to shun the house of mourning.  . . . I cannot help perceiving that Dr. Wilson, who was called in owing to the absence of Gresanowsky, and who is most forbidding in physiognomy and is said by some to be a humbug, has hastened Mrs. Browning's death by resorting to a violent practice which her weak body was thoroughly incapable of enduring. He began by frightening her, telling her what a fearful state her entire system was in, - a fine way to treat an imaginative person. Gresanowsky knew her constitution, and it does seem most unfortunate that he should have been absent. Since the medical murder of Cavour, I have begun to distrust all doctors in Italy. . . . (Whiting, 134-137)
I do not recall anywhere else it being said that not only were Pen's curls cut off but so also were Elizabeth's. That mirroring identity, so crucial to Elizabeth, shorn by 'funeral shears'. We remember the story of Elizabeth being upset one day because Robert had in a fit of fury cut off his own hair. Kate Field's narration opposes that given by Henry James in William Wetmore Story and His Friends (II.61-65), and by other contemporary accounts which have Robert saying at the time that Dr Wilson had prescribed too much morphine, Elizabeth in her drug euphoria (and not in the terror she would speak of in her letters of withdrawal when the drug-taking was momentarily forgotten during her travels) speaking of the bedroom curtains as hung with Hungarian colours (which are the same as Italian colours, the red, white and green we know Elizabeth to have used for the windows of Casa Guidi because the tricolour was banned by the Austrians). Dr Wilson was deeply opposed to laudanum usage and would not have overdosed her. See A109, Jean Elizabeth Wilson, AB5, Cornelia Loring. Rather it was Dr Gresanowsky of the fine bedside manner who enabled it. Lily Wilson, who had stopped the laudanum long enough to allow the successful pregnancy with Pen, had already been dismissed from her service. Robert, who had written the dramatic poem Paracelsus about laudanum's inventor, was knowledgeable about these opiate drugs, more so than was Elizabeth, and it was he who now administered the 'amreeta' drops to her. In all these accounts narrated by others of Elizabeth's dying their common source is Robert, the sole witness.
The body would have been brought from Casa Guidi to the 'English' Cemetery and laid on the huge cypress wood table built in 1860 at the same time as was the Gate House and its mortuary chapel, all using the cypress trees on the hill, these being still extant, though the chapel is now turned into a library.
Kate Field continues:
                                                                                                       Florence, July 1, 1861

I have been completely upset for the last three days, - the death of Mrs. Browning has unfitted me for doing anything. We have just returned from her funeral. We have seen all that is mortal of her buried in the beautiful Protestant burial-ground outside of Florence's walls, . . . The service was according to the Episcopal form. No discourse. Her life had been a sermon; she needed no other. It was agonizing to look on Mr. Browning - he seemed as though he could hardly stand, and his face expressed the most terrible grief. The poor boy stood beside him with tears in his eyes, and when I glanced from them to the pall where their loved one's remains lay, it seemed as though the sorrow was too much to bear. I yearned to go to Mr. Browning and weep with him that wept. The scene was made impressive in spite of the ministery; it was very short, and we were hurried away by Mr. Trollope. A lovely wreath of white flowers and a laurel wreath were placed upon the coffin. The funeral was managed by a friend of the Brownings, and so managed that no one knew anything about anything. Orders were given to the greatest confusion during the three days, and up to this morning I was told that no ladies were to be at the grave. However, Mr. Browning expressed a wish that Miss Blagden (B42) should be present and all other friends that desired to; therefore at the last moment I sent word to those whom I knew would wish to attend, and in this way there were sorrowing women to mourn for a great woman. The funeral would have been meagre without them. I thought that Mr. Landor (A29) ought to have been there, and had I known that the service would have been so short would have gone for him. The Storys (D108) came up from Leghorn; young Lytton, Mr. Trollope, the Powers (B32), and others paid their last tribute to her memory (Whiting, 137-138).

Let us turn to the entries concerning Elizabeth Barrett Browning's burial for more clues. As Custodian of the Swiss-owned 'English' Cemetery I kept asking whether there were any more documents concerning these burials, apart from one ledger compiled in 1877 of the list of burials in alphabetic order. Always it was said everything had been lost in the 1966 Florence Flood. Finally, these were handed over: two ledgers created contemporaneously, and a third listing burials in temporal order, created in 1873 from the previous records, like the alphabetical register, Plus further ledgers giving the burial expenses, and the duplicate receipts for these funeral expenses and the payments to the grave-digger, which I now share with you.

First the two Burial Registers
, neither of which give her status as married, nor her parentage, and not even her correct age:

I.

II. The duplicate volume of the above:


[Interestingly, Pen's baptismal certificate in the same Swiss Evangelical Church's Register tells us that it was performed on what would be almost her death date, 28 June, 1849, she dying 29 June, 1861, when he was twelve years old.]


III. The chronological listing of burials in the Swiss-owned so-called 'English' Cemetery, compiled in 1873 from the previous records:

The Alphabetical Register, compiled in 1877 from the previous records:

In all these documents Elizabeth's age is given incorrectly as '45', rather than '55'. We recall that she did not tell her husband she had visited the Battlefield of Waterloo immediately following Napoleon's defeat, though she describes a child loosed upon that same battlefield in Aurora Leigh. (The English Cemetery has fourteen participants in the Peninsula and Waterloo Battles against Napoleon, some of whom, like B98/ MAJOR FRANCIS CHARLES GREGORIE, were Elizabeth's friends.) Nor does her tomb give her birth date, only that of the year of her death, 'O+B+1861'. Her initials are given, 'E+E+B', but not her name, as if Robert penny-pinched on the payment to the stonemason, who would have charged for every letter. Another husband composed a lengthy poem at the death of his wife, F23/ CAROLINE (BENNETT) NAPIER, Sector F, and paid for each letter of it to be engraved on her tomb slab.

The Funeral Expenses
IV. Signor L. Gilli, Inspector of the Cemetery, is paid 271 paoli for the funeral of Elizabeth Barrett Browning out of which he pays the tax to the English Church of 113 paoli. Further payments are made to the English 'pasteur' of 108 paoli for conducting the service, and 10 paoli for his carriage. Yet further payments still are made for him to have crepe for his hat and gloves. But Elizabeth, clearly, from Pen's christening through her last letter to Arabella, would not have wanted to be buried by the Church of England's Rev O'Neill, but instead by the 'pasteur' of the Swiss Evangelical Reformed Church, Charles Berthoud. Apart from a pauper funeral this is the lowest amount paid at this time for an adult funeral. Those of Charlotte, Countess of Strathmore and Kinghorn (E44
), and of Theodore Parker (D108), cost more than a 1000 paoli each. The Trollopes, nine years earlier, had paid 572 paoli for a first class funeral for their favourite maid Elizabeth Shinner (C71) . 

V. Then Ferdinando Giorgi, Master Mason, is paid a total of 760 lire toscani from Signor L. Gilli for the burial of 16 persons, the first of which is #737, Elizabeth Barrett Browning's.

Normally, Ferdinando Giorgi is paid 45 Tuscan lire a burial. He gets 90 Tuscan Paoli on 26/9/61 for EBB's burial, number #737, because he had to dig two graves. Which means the Swiss Evangelical Church this time only got 68 Paoli, less than the amount of a pauper's burial, which is 110 Paoli. Then the bill came for the carriage for the coffin from Luigi Pagliai at 32 Paoli, leaving the Swiss Church with just 36 Paoli.
I puzzled over this payment for the digging of two graves. Had Robert had one dug for himself for when his time came? Had another body been found in it while digging the first? Then I found the answer to this question.

Mrs Sutherland Orr in Life and Letters of Robert Browning tells us that in September of 1861, writing from St.-Enogat, near Dinard, where he is staying with his father and sister, two months after Elizabeth's burial, Robert Browning requests Isa Blagden to arrange moving his wife's body from one grave to another, as this is required for the subsequent placing of the monument designed by Leighton, just the same as had been done for A3/ ROBINA (WILSON) CATANI CAVALCANTI and would be for A111/ HARRIET FRANKES (WEBSTER) PELLEW:
. . . Isa, may I ask you one favour? Will you, whenever these dreadful preliminaries, the provisional removement, etc., when they are proceeded with - will you do -- all you can - suggest every regard to decency and proper feeling of the persons concerned? I have a horror of that man of the graveyard [Ferdinand Giorgi], and needless publicity and exposure - I rely on you, dearest friend of ours, to at least lend us your influence when the time shall come - a word may be invaluable. If there is any show made, or gratification of strangers' curiosity, far better that I had left the turf untouched. These things occur through sheer thoughtlessess, carelessness, not anything worse, but the effect is irreparable. I won't think of it - now - at least . . . (Orr, 395-396; McAleer, 175, dates this letter as of 19 September 1863, as from Ste Marie, Pornic, however, the receipt clearly indicates the revised burial, the twice-digging of graves, was carried out almost immediately in 1861).
Earlier, Elizabeth had noted Robert's great fear of cemeteries. He had refused, for instance, to go to the funeral and burial of his first cousin James Silverthorne, the witness at their wedding (Arabella I.490-91,494). Mrs Orr similarly observes this of Robert and remarks of this letter: 'The dread expressed in this letter . . . connects itself with an habitual aversion for the paraphernalia of death, which was a marked peculiarity of Mr Browning's nature' (366-367), noting that he never visited her grave. Nathaniel Hawthorne modeled the character of Donatello in The Marble Faun on Robert Browning and likewise vividly described his mirroring character's horror of death.
Immediately after the funeral, Robert commissioned the painting by Giorgio Mignaty of the Salone at Casa Guidi as it was when she died, on finding the room could not be photographed, perhaps by Longworth Powers (who would later photograph the tomb), perhaps by the Fratelli Alinari.



We recall that two of the Mignaty children,
E131DEMETRIO FREDERICK MIGNATY and E130/ ELENA MIGNATY, are buried in the English Cemetery, Demetrio's inscription in Greek,

and that the head of the beautiful but not faithful Signora Mignaty was model for B32/ HIRAM POWERS ' Greek Slave about which Elizabeth wrote her powerful anti-slavery sonnet from which we take the title of this book, 'Thunders of White Silence'.

The American sculptor B32/ HIRAM POWERS, who had been present with his wife Elizabeth at Elizabeth Barrett Browning's funeral, is also buried in the English Cemetery, while Michele Gordigiani, who painted the portraits of Elizabeth and Robert and likewise that of Camille Cavour, whose death on June 6th  Elizabeth so deeply mourned,


1858

had his studio just across the street, his descendant, Francesca Gordigiani, still living there.
Robert Browning, who sculpted and who wrote poetry on the ordering of tombs, who was himself indulging in sculpture rather than poetry at the end of their marriage, accepted Frederic Leighton's offer to design Elizabeth's tomb, Count Cottrell having Francesco Giovannozzi carry it out in Browning's and Leighton's absence. Frederic Leighton had studied at the Accademia di Belle Arti and would become President of the Royal Academy. His earliest triumph had been to paint what Elizabeth had already described in Casa Guidi Windows, published in 1851, the 'Procession of Cimabue's Madonna from Borgo Allegri to Santa Maria Novella', in 1854, the huge canvas being purchased by Queen Victoria when he was all of twenty-four.


Frederic Leighton, Cimabue's Madonna


Frederic Leighton, Self Portrait, Uffizi

Leighton, we noted, also illustrated Elizabeth's final poem to Pan, 'A Musical Instrument', when it was published in the Cornhill Magazine in 1860 (175-179), the year before her death. Leighton likewise illustrated George Eliot's Romola, including the despicable Tito's late return home to her, which both author and artist set in the Via dei Bardi house of Elizabeth's friend, Seymour Kirkup:

Robert, who similarly often went out at night, leaving Elizabeth at home, after the initial years of marital - and sexual - bliss, immediately following the funeral, left Florence with young Pen, accompanied by B42/ ISABELLA BLAGDEN. He proceeded to write The Ring and the Book, the Aretine and Roman trial account in verse about spousal abuse and murder, as if his own confession: with Caponsacchi as if Robert being Elizabeth's rescuer from the bondage of Wimpole Street, and with Franceschini as if Robert, who as husband constantly quarrelled publicly with his wife over politics, over spiritualism, over their son, who lied to her saying the Gabinetto Vieusseux was forbidden to women, who held the purse strings of EBB's inheritances and her earnings, who lately carefully administered her laudanum, and who, as the author of Paracelsus, the inventor of laudanum, may have knowingly overdosed her, while blaming Dr Wilson for doing so. If so, it is a kind of mercy killing, for he carefully explains to everyone that she is unaware that she is dying, only that she is in a state of euphoria from the drug. She does not die hemorrhaging from the lungs with tuberculosis.


Leighton Sketch Book XXXV, Royal Academy Library

ebbtomb8____
Greek Lyre                   Christian Harp           Hebrew Harp
Pan                               Cross                         Jubilee with Broken Slave Shackle
Leighton's tomb for Elizabeth is a magnificent monument. But Robert never saw it, never returned again to Florence, though Pen did, living in the Torre di Antella, seeking to make Casa Guidi a museum, searching out memorabilia of his parents, which at his death were all dispersed in auction sales. Leighton did return to Florence and did see the work in progress, and was deeply angered by the changes made to his design by Francesco Giovannozzi and approved of by Count Cotttrell. Lilian Whiting's biography of Kate Field, the young American writer who had been present at that funeral, tells us that on Christmas Day, 1864, nearly three and a half years later than the funeral,
Mrs Browning's monument has not yet been erected, but will shortly be so. Leighton, who was intrusted by Mr. Browning with the design, was exceedingly and very reasonably angry on coming here in the autumn to superintend the erection of the monument, to find that the sculptor had most unwarrantably changed divers parts of the design. Some of these departures from his plan Leighton insisted on having restored, and this has led to considerable delay. And I should fear that the monument, when it is put up, will not be wholly satisfactory to Mr. Browning or Mr. Leighton (Whiting, 157).
Count Cottrell, whose title was given to him for his services as Chamberlain by the Grand Duke of Lucca, had refused to go to the English Cemetery at the burial of one of his children there, Carlo Lodovico, B102/ CHARLES LEWIS COTTRELL, Robert exceptionally officiating for him as chief mourner (Arabella, II.322-323). In some of the earlier Letters to Arabella the relations between the Cottrells and the Brownings became decidedly strained, for Mary Trepsack had had her life savings conned from her and lost in a bankruptcy by Cottrell relatives, partly through Robert's actions, Elizabeth desperately trying to get reparations paid to her in compensation while obeying Robert in keeping secret from her brothers his involvement in the case (Arabella I.268-269, 271-272, 286, 305, 311, 349-350). Mary Trepsack was the beloved freed slave in the Barrett Moulton Barrett entourage who had paid for the publication of Elizabeth's second magnum opus, The Essay on Mind, in 1826; Elizabeth's first magnum opus, The Battle of Marathon, begun when she was eleven, having been privately printed by her father in 1820. Robert now put Count Cottrell in charge of overseeing his wife's tomb in Florence. He had already defied her in giving her a Church of England funeral, bilking the Swiss Evangelical Reformed Church.
Browning writes, in 1866, to George Moulton-Barrett, Elizabeth's younger and favourite brother (284-5):
I feel very grateful indeed for your letter, and all the kindness it is replete with. For the monument, I am simply rejoiced that you like it. You know it was just what I was able to accomplish in that direction, and no more: I meant, - that had it been of pure gold it would have gone no farther in the way of being a fit offering, - and on the other hand, if my circumstances had only allowed me to put up a wooden cross, that would have sufficed. But I was fortunate in the sympathy of Leighton, and so, I hope, have been able perhaps to manage that the little which is done, is on the whole well done. I could not be on the spot and care for the execution personally - and mistakes were made at first which have been rectified since: but, by the photographs, I judge that Leighton's work is adequately rendered, - and we must be content.
Browning writes again, in 1875, to George Moulton-Barrett (298), who has been to see the tomb in Florence, noting in a letter to Robert that it was already grimed and needing care (Sutherland Orr, 367-68):
You will certainly have wondered at the delay in replying to your kind letter: it was occasioned by the necessity of consulting with Leighton about the proper course to take in a matter which concerned him so much. I am deeply obliged to you for informing me about what I might else have long remained in ignorance; and the particulars of the damage, as well as the estimates of needful repair & expenditure are just what I should have desired. I wish every fit measure to be taken, and leave the whole in your most capable hands: but there is this difficulty, - Leighton is very averse to the destruction of his design by the substitution of black marble: he would prefer the renewal of the old work, even if one needs to begin again in another eleven years. Cannot this be managed? I wish it were as easy to replace the coarse nature of the relic-mongers by some more human and decent stuff, but that is impossible. Would a more effectual railing be any use? or would a cover, such as you mention as being made for the Demidoff monument, answer the purpose here? You have such an advantage over me who never saw the Tomb, that I accept your judgment, whatever it may be. Leighton said he would prefer letting the ornaments quite go, in process of time, and then renewing them - that is, prefer this to substituting the black stripe.
Elizabeth's absence from her own tomb is strange. Though there are many tombs with portrait medallions: A64/ GEORGE AUGUSTUS WALLIS by Aristodemos Costoli, A15/ ANNE SUSANNA (LLOYD) HORNER by Francesco Jerace; AB7/ INA BOSS SAULTER, by Ettore Ximenes; B4/ ELENA NIKITICNA DIK, NATA AKZYNOVA by Fyodor Fyodorovitsch Kamensky; C3/ THOMAS SOUTHWOOD SMITH by Joel T. Hart; D108/ THEODORE PARKER by William Wetmore Story; D127/ JAMES ROBERTS, by Joel T. Hart?; E12/ JAMES LORIMER GRAHAM, JR by Launt Thompson; E9/ WALTER KENNEDY LAWRIE by Pietro Bazzanti, F27/ PHILIPPINA (SIMONS) CIAMPI, Joel T. Hart?, and two portrait busts: B23/ PROFESSORE CESARE PAGANINI by Emilio Zocchi, C106/ JEAN DAVID MARC GONIN by Pietro Bazzzanti), there is no recognizable medallion portrait of Elizabeth Barrett Browning, only an ideal figure of Poesy, and we learn from Robert's letter from the Athenaeum Club, January 19, 1863, to B42/ ISABELLA BLAGDEN, that the Italians, through Cottrell, sought to pre-empt Leighton's design, and that Robert himself decided against having her portrait,

I have determined at last that the central medallion shall be appropriated, not to a Portrait, but to an ideal head of 'Poetry': a portrait proves to be impossible, - one, that is, which we would accept: there is nothing to be done but submit to a necessity - for any playing with the truth there would be hateful to me (185-186),



and then in Robert's letter to Frederic Leighton, August 20, 1863, that he had sent portraits of Elizabeth to him. Finally he writes to Isa, October 19, 1864, about Leighton's explosion concerning the badness of the execution, and speaking of the portrait medallion as altered, particularly as to the hair, to falsely 'better' it.


It was fortunate indeed that I was saved from the addition to my annoyances which I should have had to bear had my journey been to Florence. Leighton writes to me that nothing can be more impudently bad than the execution of his designs - there has been no pretence at imitating some of them - and the four (sic., for six) capitals of the columns will have to be sawn off and carved afresh, - also two of the medallions have to be cut out and replaced - as infamous: while the third 'though indeed detestable is not quite irremediable". The Profile is "less slovenly than the rest", though open to many objections - "the hair, with that designing of which I took great pains, is entirely different: the fellow had the coolness to say that he thought I had probably done the thing hastily without nature, and that he had put up a plait, and done the thing afresh himself (if you could see it!) - also, in the ear, "ho cercato di migliorare!" he added that he had obtained from Cavalier Mathas [architect of the façade of Santa Croce] and Count Cottrell the sanction to improve these parts of the work - let us hope there is no truth in this. Cottrell says he saw all the criticism I make, himself - but that he thought it better to leave them to me to make, as the mischief was irremediable"- On the contrary, Cottrell wrote to me that it was "extremely well-executed", - and as he paid up the last instalment, though not due till the work was really erected, I have no sort of remedy. Don't say one word about this - I won't have any wrangling over - literally - the grave (194-195).

One can see in three of the photographs taken by the son of Hiram Powers (B32), Longworth Powers, preserved in the Gabinetto Vieusseux, the various stages of the tomb's long drawn out building, first the white marble base, then the columns, then the whole.

Leighton had other errors changed, but Robert connived at the false portrait medallion on the most visible part of the tomb. Not only is Elizabeth's name absent from her tomb, but so also is Frederic Leighton's, while 'FRANCESCO.GIOVANNOZZI.FECE' in great capitals is sculpted onto its base. It is a tomb to which the 'Ba', the Soul, according to the Egyptian Book of the Dead, lacking image or name, would be unable to return. A double dying, a double murdering. One wonders who paid for the tomb? Was it Browning? Or Leighton, so deeply disturbed that his honouring of her was thus countermanded into the oblivion of her name and of her image.

However, it seems from sketches in the Royal Academy's Library that Andrew Potter has so kindly sent me that Leighton conceived it not as a classical sarcophagus so much as a medieval pilgrim tomb with space under it for pilgrims to enter, like that of Edward the Confessor's Tomb in Westminster Abbey. An aside: When Elizabeth was preparing herself for the elopement with Robert, she dared to go outside, to take walks, and on one of them visited Westminster Abbey and its Poets' Corner where her husband would come to be buried apart from her. This is how she described it, 31 July, 1846:

How grand - how solemn! Time itself seemed turned to stone there! . . . we stood where the poets were laid - oh, it is very fine - better than Laureateships and pensions. Do you remember what is written on Spenser's monument - 'Here lyeth, in expectation of the second coming of Jesus Christ, . . Edmond Spenser, having given proof of his divine spirit in his poems'.

   

I found this photograph placed on EBB's tomb, 5/10/2011, by Jan Taylor who wrote on the back of it: 'This quest of mine started when I watched a film called The Barretts of Wimpole Street. It turned out to be a wonderful love story between two poets, Elizabeth Barrett and Robert Browning, whereupon they eloped to Florence and lived there until Elizabeth Barrett Browning died, and was buried in Florence. Robert Browning, however, returned to London where he is buried in Poet's Corner in Wetminster Abbey. I felt saddened to hear they were buried apart, although it is an honour to be buried in Poet's Corner. I would like to give up the honour for love. I took this photograph of Robert Browning's resting place and travelled to Florence to place it on Elizabeth's grave'.



We find indeed that Leighton had intended a more true portrait on the tomb as he originally conceived it, these drawings being supplied by the Leighton House Museum from those in the Victoria and Albert Museum (Leighton even shows a togaed Robert approaching it, remembing the scene where Romney and Aurora in Aurora Leigh speak of the tomb at the Appian Way, 'Siste, Viator!')


We remember that Emily Dickinson, America's greatest poet, treasured a postcard of this tomb, and wrote of it and of Aurora Leigh's use of the Appian Way, in her lyric, 'The soul selects her own society, Then shuts the door; On her divine majority, obtrude no more. Unmoved she notes the chariot's pausing At her low gate; Unmoved, an emperor is kneeling Upon her mat. I've known her from an ample nation Choose one, Then shut the valves of her attention Like stone'. She also wrote of Elizabeth Barrett Browning's final volume (312):
WhiteSilence
Her -- "last Poems" --
Poets -- ended --
Silver -- perished -- with her Tongue --
Not on Record -- bubbled other,
Flute -- or Woman --
So divine --
Not unto its Summer -- Morning
Robin -- uttered Half the Tune --
Gushed too free for the Adoring --
From the Anglo-Florentine --
Late -- the Praise --
'Tis dull -- conferring
On the Head too High to Crown --
Diadem -- or Ducal Showing --
Be its Grave -- sufficient sign --
Nought -- that We -- No Poet's Kinsman --
Suffocate -- with easy woe --
What, and if, Ourself a Bridegroom --
Put Her down -- in Italy?

I will now give comments concerning the Brownings from William Holman Hunt, PreRaphaelitism and the PreRaphaelite Brotherhood, pp. 96-96:

When I returned to town from Oxford, I found the Brownings had come to London, and soon Gabriel and I were invited to spend the evening with them. When the appointed hour approached I had a return of Syrian ague upon me, but this was not enough to prevent me from greeting the two poets; both were extremely unaffected and genial.
Browning was taller than he had been described to me, perhaps about five feet six, robust and hearty in his tone of interest in all questions discussed, but I felt some self-reproach in so faintly recognising in him the stamp of a man as elevated above his fellows as his noblest poems had proved him to be. Mrs. Browning was small and very fragile; she betrayed nervous anxiety in her eager manner, so that the supersensitive tenour of her poems seemed fitly embodied in her. Her hair was brought forward and fell in ringlets on her face in a manner quite out of fashion, and thus helped to make one feel that she disregarded all changes of mode since her youth. The special interest of the evening was the production of a poem by their son, aged about six, the subject Leighton's picture of “Orpheus and Eurydice.” It was, even taking the child's parentage into consideration, a wonderful example of precocity. Gabriel seemed throughout the evening over apt to break in with jocular interruption to the conversation, as though claiming proprietorship in the company present; it was easy to yield to him in this whim, since it happened that we were all his debtors for the first knowledge of the works of our new friends.
Browning was constantly there, being deeply interested in art, an interest which, it was said, he had shown several years before by drawing in the Schools at Rome. After the death of Mrs. Browning his devoted sister became the mistress of his house, and they made it the anxiety of their life to watch the prospects of the son. For a time all seemed uncertain about “Pen's” proclivities, but one day when I called upon the poet, in Bloomfield Terrace he showed me a group of still life, composed of a human skull and accessories, which the son had spontaneously painted. The assurance that “Pen” would take to painting was a great joy to his father, and he consulted me earnestly as to the course to be followed, but on a subsequent occasion he told me that he had been advised to send him to study in Belgium. After a few seasons some examples of
page: 270
his son's work were seen in the Grosvenor Gallery, when the poet expressed great gratification at any recognition that they gained. By this date Browning was an honoured celebrity. Some of his original champions were confessedly displeased in that he seemed to approve the fashionable admiration of London society rather than their own, and words were wafted about expressing indifference to his later poems. He spoke to me of a visit he had made to the National Gallery after a prolonged absence abroad, and of his close attention to the “Dead Knight” by Velasquez—he said it had struck him then with a weird astonishment in that it was an illustration of the initial scene of his poem of “Childe Roland” and that Velasquez had anticipated his vision. (The title now given to the picture is changed.) Once when I was talking to the poet I chanced to mention the name of Rossetti; he suddenly flamed up, saying, “That is a man I will never forgive; he is unpardonable.” I replied: “Certainly I cannot pose as one of his ‘ idolaters’ but one of his great merits in my eyes is that he was the first who introduced me to your poetry, and that was thirty years ago.” But Browning was still irate, declaring that he had no patience with him, and would never overlook his insolence. I did not inquire further about the exact cause of offence. It is possible that Rossetti, originally nearly as great an enthusiast for Mrs. Browning as for the poet himself, had recently uttered something derogatory to her as
page: 271
page: 272 well as to the poet, and his verdict that “Browning and poetry had parted company for ever” could scarcely have escaped the poet's ear.

Browning's and Leighton's scoffing, angry letters were not the only ones about the tomb. In the Cemetery's archives is the following sheaf of letters:

16 September   East Hill House
1930                      Ottery St Mary
                                 E. Devon
Dear Sir,
    I have been told that the
tomb of Mrs Elizabeth Barrett
Browning situated in the old
Engish Cemetery of Pinti is in a
bad state. Would you most kindly
say what repairs to be done to it
if Anything & what it would cost
& who would undertake the
work of restoration.
     I remain
         Yrs truly
     H.P. Moulton Barrett Lt Col

CIMITERO DI PORTA PINTI
    AMMINISTRAZIONE
                                             Firenze, I3 Novembre I930 IX
             H.P. Moulton-Barrett St.01.
                                                 Ottery St Mary
         Illmo Signore,
     In risposto alla Sua del I6 Settembre mi pregio
comunicarLe che,poiche non viene pagato niente per la
manutenzione del monumento in questione, gli anni lo
hanno alquanto danneggiato. Mi sono informato presso il
marmista per cambiare i pilastrini, lavare e accozolare
tutto il monumento occorrono L.I500=In questa cifra
è compresa pure la sistemazione del giardinetto.
  Per la sorveglianza dei lavori occoreranno L.I00-circa.
     In attesa di Sue disposizioni
                      Con osservanza
                              L'ISPETTORE:

CIMITERO DI PORTA PINTI
Amministrazione
                                         Firenze, I4 Luglio 1932 X
               Illmo Signore
     Non avendo questa amministrazione ottenuta risposta
alla nostra del I2 Novembre I930 in risposta alla Sua
pregta I6 settembre dello stesso anno relativamente
alla Tomba Barrett,si pregio chiederLe se Ella desidera
vedere i preventivi o farli fare da altra persona.
                                     Con perfetta osservanza
                                               L'ISPETTORE

[One letter, which must have been blistering, from the
Lieutenant Colonel, has not survived in the archive.]

CIMITERO DI PORTA PINTI
  AMMINISTRAZIONE
Allegati               Firenze, 10 Luglio 1933 XI
                 Illmo
            Signor Podesta di
                                           FIRENZE
                                            =======
     Dietro Sua richiesta mi pregio allegare alla presenta
copia di due lettere scritte al Signor Moulton-Barrett
riflettenti le manutenzione della tomba Barrett-Bowning.
     Gradirei che la S.V. potesse rendersi conto personal-
mente delle condizioni del suddetto monumento e preghero
la S.V. Illma di volersi compiacere farmi sapere quando
potrebbe visitare il Cimitero Monumentale affinche poter
si osservi presente.
               Con perfetta osservanza
                        della S.V. Illma
                                        devmo
                               L'ISPETTORE:

COMMUNE DI FIRENZE                Firenze lì 27 Luglio 1933 - XI
DIREZIONE iv - IGIENE E SANITA'
            Corso de' Tintori, 29
                        1845
                                              
Preg.mo Signor Dottore,
                          Ho il piacere di comunicarle che, in seguito al-
la sua lettera e per interessamente di questo Ufficio, l'On/Le
Podestà ha stabilito che il Comune provveda al restauro del-
la tomba Barret Browning.
          I lavori saranno iniziati nella prossima settimana ed
Ella potrà avere esatte notizie in proposito rivolgendosi
al Comm. Architetto Ezio Zalaffi dell'Ufficio Belle Arti del
Comune cui è stato affidato l'incarico del restauro stesso.
   Con distinti saluti
                   IL DIRETTORE DELL'UFFICIO D'IGIENE
                                  Signature


COMMUNE DI FIRENZE         Lì 26 Agosto 1933 - XI
   196/2013
Illmo Signor Dott.Corradini
  Ispettore del Cimitero di Porta a Pinti
                 Via della Colonna 8
                            FIRENZE

                                          Con proprio deliberazione dell'8 Agosto corrente
resa esecutoria dal Prefetto il 23 corr.l'On.Podestà stanziava la somma
necessaria ad eseguire i lavori di restauro al sepolcreto dell'illustre
scrittrice inglese Elisabetta Barrett Browning nel Cimitero di Porta a
Pinti.
            I lavori occorrenti, sotto la direzione di questo Ufficio, sa=
ranno eseguiti dalla Ditta Tosetti,Maestro scalpellino, e, in quanto occor=
ra, dalle Ditte Fratelli Cardini, Fabbri, e Ragionieri, Maestro Muratore,
            Ai lavori stessi verrà posto mano ai primi dell'entrante setti=
mana.
            Prego la S.V.di voler dare disposizione perchè gli operai del=
le suddette Ditte ed i funzionari di questo Ufficio che dovranno dirigere
e sorvegliare i lavori possano in ogni momento della giornata  accedere al
Cimitero.
            In attesa di un cortese cenno di assicurazione, con osservanza
                                                           IL CAPO UFFICIO BELLE ARTI
                                                                Gaspar Campanij           
                                                
In an earlier paper, I lamented the lack of the major symbol Elizabeth and Robert shared in their poetry on her tomb, that of the pomegranate. We have now planted a pomegranate beside it that came from the Elizabeth's beloved Giardino Torregiani and we have rectified the lack of her name with a stele by the tomb. Its marble was crumbling away into sugar and it was begrimed. I raised €3000,00 for its consolidation and cleaning, largely from Moulton-Barrett relatives, and the Comune has now twice honoured Elizabeth with laurel wreaths, once even with the Gonfalone, thanks to Eugenio Giani, Presidente del Consiglio Comunale.

 

     

    

Likewise we have sought to correct the absence of her poetry on her tomb with its presence on the walls of the Gatehouse's arch, unveiled by Dr Stephen Prickett at our conference with the Gabinetto Vieusseux on the 'English' Cemetery in 2004.

 

Sarcofago. Disegno: Frederic Lord Leighton; Scultore Francesco Giovanozzi; Firma: FRANCESCO GIOVANNOZZI FECE. [sarcofago in marmo e elementi decorativi in piombo su disegno di Lord Leighton eseguito da Francesco Giovannozzi, firma in basso a sinistra. Del fratello, Luigi Giovannozzi (1791-1870), è la tomba della Duchessa d'Albany in Santa Croce]. Sec. XIX, post 1864. Ambito toscano. Sarcofago scolpito con cammeo a simbolo della Poesia, arpe, lira greca (con il Dio Pan bifronte del Giardino Torrigiani), arpa ebrea con catena spezzata, arpa cristiana; intagliato con gigli e fiori delle Isole britanniche, rosa, trifoglio, giunchiglie, rami d'ulivo; sarcofago retto da sei colonne con gigli su disegno di Lord Leighton. Ultimo intervento di restauro, Meridiana Restauri, 2006, recinto in ferro, intervento conservativo sul ferro Daniel Dumitrescu, 2008. Per i disegni preparatori conservati alla Royal Academy Library, ecc., si veda ebbdeath.html [M: A: 105. L 191.2: P: 118.5; P.s. A: 37. L: 212. P: 114.6  Recinto A: 72. Totale: A: 204. L: 191.2. P: 118.5 ] Iscrizione sepolcrale in lettere capitali e numeri arabi in piombo: E.B.B./ OB.1861./ Eglise Evangelique-Reformée de Florence Régistre des Morts: Elisabeth Barrett Browning, l'Angleterre, agé de 45 ans/ Q 459: 271 Paoli, including English Church's tax of 113 Paoli/ Q 479: 90 Paoli paid to Ferdinando Giorgi, Master Mason for digging two graves for EBB/ Records, Guildhall Library, London: GL23777/1 N°293 Burial 01/07 Rev O'Neill, 'bronchitis'/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: 79. Barrett Browning/ Elisabetta/ / Inghilterra/ Firenze/ 29 Giugno/ 1861/ Anni 45 [incorrect, 55]/ 737/ N&Q 207. E. B. B., ob. 1861. No other inscription/ Freeman, 236-23/ NDNB article/ Belle Arti 1993-1997 scheda/ Henderson/ Webbs: heart attack, morphine poisoning?/ Chiesa Evangelica Riformata Svizzer, 1827-preent. Nulla osta.

      Harper's Monthly engraving of EBB's tomb

AUDIO FILES OF ELIZABETH BARRETT BROWNING, LADY GERALDINE'S COURTSHIP; SONNETS AND BALLAD, 1. 'HIRAM POWERS' GREEK SLAVE, SONNETS FROM THE PORTUGUESE, 2, 3, 4, 5. THE RUNAWAY SLAVE AT PILGRIM'S POINT; IN PORTUGUESE, SONETOS PORTUGUESES II ; CASA GUIDI WINDOWS I, CASA GUIDI WINDOWS II; AURORA LEIGH, ALI,ALII,ALIII,ALIV,ALV,ALVI,ALVII,ALVIII,ALIX; EBB ON FLORENCE, 1. PREFACE, 2. CASA GUIDI WINDOWS, 3. AURORA LEIGH & POLITICAL POEMS to accompany Elizabeth Barrett Browning's Florence, Map of Florence/


Mary Ann Beckinsale/F1O.4:

Mary Ann Beckinsale. The Work of Eric Ravilious (1903-1942): Its Origins and Originality. Firenze: Angelo Pontecorboli Editore, 2020.

Famiglia Bossé/D106, D107, D109:

Riga, The Black Heads House.

22Q/ D106/ 670/ EDUARD BOSSE/ LETTONIA/RUSSIA
Son to D107/ ERNST GOTTHILF BOSSE, brother to D109/ ELISE BOSSE. Likewise an artist, he worked in the Uffizi copying paintings.

 

Tomba. Marmista ignoto. Sec. XIX, post 4/1859. Ambito toscano. Tomba in marmo e pietra serena, marmo scolpito con profilo curvilineo, lettere in rilievo. Possibile intervento di consolidamento sul basamento. Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2013. [M: A: 47; L: 68; P: 136; P.s. A: 82; L: 90; P: 171.] Iscrizione sepolcrale in tedesco incisa in lettere capitali e numeri arabi a rilievo: EDUARD BOSSE/ GEB[oren] IN RIGA DEN 6 FEBRUAR 1810/ GEST[orben] IN FLORENZ DEN 3 APRIL 1859/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Edouard Bossé, l'Empire Russe (Provinces Baltiques), fils de Ernest Gotthelf Bossé, et de Milhelmina Bossé, née Danemark/ I: 1852-1859 'Registre des Sèpultures avec detail des ', Paoli 460/ Q 354: 195 Paoli/ Talalay: artista, ha lavorato agli Uffizi come copista/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: 164. Bossé/ Eduardo/ Ernesto/ Russia/ Firenze/ 3 Aprile/ 1859/ Anni 49/  670/ °=Bernd Erhardt. Chiesa Evangelica Riformata Svizzera, 1827-present. 
Боссе Эдвард Эрнестович, Рига 6.2.1810 — Флоренция 3.4.1859, № 670, D22Q.



D21Q/ D107/ 812/ ERNST GOTTHILF BOSSE/ LETTONIA/RUSSIA
Father to Eduard Bosse (D107), he gave up being a merchant to become a painter of portraits and a copyist of Old Masters in Latvia, St Petersburg, Rome and Florence, where he was a Professor at the Accademia di Belle Arti.

 

Tomba.
Marmista ignoto. Sec. XIX, post 12/1862. Ambito toscano. Tomba in marmo e pietra serena, marmo con profilo curvilineo, marmo scolpito, lettere in rilievo. Possibile intervento di consolidamento sul basamento. Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2013. [M: A: 46; L: 69; P: 136; P.s. A: 82; L: 90; P: 171.] Iscrizione sepolcrale in tedesco in rilievo in lettere capitali e numeri arabi: GEB[oren] IN RIGA DEN 20 AUGUST 1785/ GEST[orben] IN FLORENZ 27 DECEMBR 1862/ ERNST G[otthilf] BOSSE/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Ernst Gotthilf Bossé, Riga en Livonie, professeur, fils de Pierre Joachim Gotthilf Bossé, et de . . . ,  née Ebel/ Talalay: N° 812, RC, al Cimitero agli Allori é sepolto  la sua moglie Wilhelmina Sophia Bosse, Riga 12-11-1787- Firenze 27.9.1884/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Bossé/ Ernesto Gotthilf/ Giovacchino/ Russia/ Firenze/ 27 Dicembre/ 1862/ Anni 77/ 812/ Belle Arti 1993-1997 scheda/ °=Bernd Erhardt. Chiesa Evangelica Riformata Svizzera, 1827-present. 
Боссе Эрнест Готлибович, Рига 20.8.1785 — Флоренция 27.11.1862, № 812, D22Q [художник]


D20Q/ D109/ 1409/ ELISE BOSSE/ LATVIA/LETTONA/ RUSSIA
She is the last burial in the Swiss-owned so-called 'English' Cemetery. Her father is D107/ ERNST GOTTHILF BOSSE, her brother, D106/ EDUARD BOSSE, buried here, while her mother is buried in the Allori Cemetery when she dies in 1884. The family of artists came from Riga in Latvia, where there is a fine portrait of his wife, her mother, by Ernst Gotthilf Bosse.

   

Tomba. Marmista ignoto. Sec. XIX, post 9/1877. Ambito toscano. Tomba in marmo e pietra serena, marmo scolpito con profilo curvilineo, lettere a rilievo. Intervento di restauro, consolidamento e pulitura sul marmo e di consolidamento sul basamento, Daniel.Claudiud Dumitrescu, 2014. [M: A: 46; L: 69; P: 136; P.s. A: 82; L: 90; P: 171.] Iscrizione sepolcrale in tedesco in lettere capitali e numeri arabi a rilievo: ELISE BOSSE/ GEB[oren] IN RIGA DEN 28 JULI 1822/ GEBST[orben] IN FLORENZ DEN 24 SEPT 1877/ Talalay: N° 1409, RC/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: 165. Bossé/ Elisa/ Ernesto/ Germania/ Firenze/ 24 Settembre/ 1877/ Anni 55/ 1409. Chiesa Evangelica Riformata Svizzera, 1827-present. 
Боссе (Bosse) Элиза Эрнестовна, Рига 6.2.1810 — Флоренция 24.9.1877, № 1409, D22Q. 

 John Logan Campbell/E54:

Sir John Logan Campbell. Poenamo Revisited. A Facsimile of the 1898 edition. Ed. R.C.J. Stone. Auckland: Godwit, 2012. Limited edition, 198/450. John Logan Campbel Trust.

Sir John Logan Campbell. Reminiscences of a Long Life. Ed. R.C.J. Stone. New Zealand: David Ling, 2017. John Logan Campbell Trust.

E11O/ E54/ (143) 970/ JOHN LOGAN CAMPBELL/ SCOTLAND/NEW ZEALAND
This baby's Scottish father settled first in Australia, then in New Zealand, and was knighted: http://en.wikipedia.org/wiki/John_Logan_Campbell We have carefully restored the badly damaged tomb.

          
John Logan Campbell                 Mayor of Auckland

Tomba.
Marmista ignoto. Sec. XIX, post 1/1867. Ambito toscano. Marmo degradato, improprio utilizzo di acido muriatico nel passato. 
Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2013. Intervento del restauro del ferro, Dumitrescu, 2013. [M: A: 62; L: 58; P: 129; RP.s. A: 41; L: 173; P: 204.] Iscrizione mancante/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Jean Logan, l'Angleterre, fils de Jean/  III: 1865-1870 'Registre des Sepultures' avec detail des frais, Francs 240/ Records, Guildhall Library, London: GL23777/1 N°382, Burial 02/02, Rev Pierce Connolly; GL23775 N° 167 Winifred John Logan baptized 03/07/64, Rev Pierce Connolly, father, John Logan Campbell, MD, mother, Emma Henderson/ See Logan/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Logan/ Giovanni/ Giovanni/ Inghilterra/ Firenze/ 31 Gennaio/ 1867/ Mesi 32/ 970./°=John Logan Campbell Residuary Estate Trust.  Chiesa Evangelica Riformata Svizzera, 1827-present. Mediatheca 'Fioretta Mazzei' holding, John Logan Campbell, Poenamo Revisited: A Facsimile of the 1898 Editon of Poenamo by Sir John Logan Campbell, Auckland: Godwit, 2012, 198/450 limited edition. This book was originally written for his surviving daughters, TAU.

Emma Gamgee/ Lorenzo Capei:/F67:

Pasquale Siano. Ritratto di Lorenzo Capei Chiaromanni gentiluomo fiorentino a cavallo tra due millenni. Firenze, 19 novembre 2015.

F6P/ F67/ 837/ EMMA (GAMGEE) CAPEI/ ENGLAND
The Italian husband, Lorenzo Capei, a medical doctor, and his four remaining children, mourn the death following childbirth with twins of his wife, the daughter of a veterinarian from Essex who had lived in Naples and Livorno. Her brother, Joseph Samson Gamgee, was an outstanding English medical doctor. Following education on the Continent he too became interested in veterinary surgery and wrote several papers, the first when he was 16. He then began medical studies at University College Hospital in London. For a period he shared lodgings with Joseph Lister (1827-1912), later Baron Lister of Lyme Regis, the founder of antiseptic surgery. While he studied medicine, he became a Member of the Royal College of Surgeons of England in 1854, subsequently a Fellow of the College of Surgeons in Edinburgh. He worked at the Royal Free Hospital. Being multi-lingual, Gamgee travelled widely throughout Europe for further studies in Paris, Brussels, Vienna, Florence and Pavia. In Paris he became a friend of Louis Pasteur (1822-1895) and worked at the University of Paris. Gamgee worked for a period as a surgeon at University College Hospital, and then tended the wounded from the Crimean War (1853-1856) at the Anglo-Italian Hospital in Malta. (See also A48/ SIR DAVID DUMBRECK.) Most of Gamgee's professional life was spent in Birmingham. He came there in 1857 and was elected to the medical staff of The Queen's Hospital, founded in 1841. Here he performed a successful amputation of a man's leg at the hip joint. He was noted for washing his hand before as well as after performing surgery. Gamgee was interested in all hospital matters and is remembered for his great efforts to improve hospital conditions, and occasioned the building of a new hospital wing. Gamgee had a great knowledge of literature and was a busy and elegant writer as well as an outstanding speaker and hard-working surgeon. Emma's babies, at least, survive her. Webbs, Anglo-Florentines, p. 273, note that her father had returned to England by the time of this childbirth. Webbs, Anglo-Florentines, pp. 467-468.

     Harper's Monthly engraving

Urna su stele. Scultore: Mattei/Bazzanti? Sec. XIX, post 7/1863. Ambito toscano. Urna su stele di marmo scolpito con medaglioni con clessidre alate, torci capavolti, e due vasi di marmo.  [A: 36; L: 16. [M: A:  251.5; L: 77; P: 77; P.s. A: 36; L: 85.5; P: 85.5; R: A: 13; L: 113.5; P: 176.5.] Iscrizione sepolcrale incisa in lettere capitali e numeri arabi: DISTINTA CHE FU IN SUA MODESTA LUCE/ PER VENUSTA DI FORME/ E PIU/ PER INGENUITA D'ANIMO/ TEMPERATO AD ELEVATI PRINCIPII/ QUI RIPOSA NEI SONNO ESTREMO/ EMMA DI GIUSEPPE E MARIANNA GAMGE/ CHE AFFRANTA DA LABORIOSO GEMINO PARTO/ NEL DI 15 LUGLIO 1868/ IN ETA DI ANNI 29 MESI 3 GIORNI 13/ LASCIO DISE/ NEI QUATTRO SUOI FIGLI NEL CONSORTE DOTT. LORENZO CAPEI/ E IN QUANTI LA CONOBBERO/ MEMORIA NON PERITURA/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Emma Cappei née Gamgée, l'Angleterre, fille de Joseph Gamgée et de Marianne/ Records, Guildhall Library, London: GL23777/1 N°329, Rev Pendleton/ Obituary, The Standard/ Registro alfabetico delle tumulazione nel Cimitero di Pinti: Capei nata Gamgee/ Emma/ Giuseppe/ Inghilterra/ Firenze/ 15 Luglio/ 1863/ Anni 28/ 837/ See Gamgee/ NDNB entry on father, Joseph Sampson Gamgee/  Indagine Cognoscitiva, Preparatoria al Restauro delle opere site nel Cimitero Protestante di Firenze detto 'degli Inglesi', Gianguido Fumelli, Adriano Giachi, Stefano Landi, Antonella Malavolti, Sabrina Milani, 1991, 79/ Belle Arti scheda, 1993-1997/ Henderson/ Descendants=dott. Lorenzo Capei, Firenze, Dr David Boddington, Hereford, Caroline Redfern.
Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2012. Chiesa Evangelica Riformata Svizzera, 1827-present.

Emma Carew/Lost Tomb:

Jacqui Livesey. "Finding the Lost Daughter of Lady Hamilton."

David Shannon. Nelson Remembered: The Nelson Centenerary 1905.

Mary Anne Chichester/F105:

The House of Chichester. Genealogy, DVD.

F7R/ F105/ 187/ MARIA (WARREN) CHICHESTER/ ENGLAND
An Italian portrait miniature of her husband, George Chichester, is held by the National Trust at Arlington Court, Devon. He served with the 59th Regiment sent to Colombo, 1818, later taking part in the seige of Bhurtpoor. Their eight-month-old daughter had died the previous year and she dies in turn, suddenly, suspiciously, at Livorno. JLMaquay, Diaries 15/7/1840 goes to Leghorn following the sudden death of Mrs Chichester who died on 14th curious accounts from the servant, it was settled during the day by White that should go down to see about it' Maquay waits for the arrival of her husband from Naples and returns to Florence on 20/7. 22/7/1840 attends Mrs Chicheter's funeral 'quite private.' Her tomb is elegant with lacrimals, classical vases for tears, and placed in the area originally used for burying infants, in this case over the child who predeceased her. A further indication of the family's taste is the exquisite Blake watercolour they owned, still at Arlington Court. The Webbs note the following families are connected: Chichester, Whyte, Moyser, Baldelli, Fleetwood Wilson, Walker, Riddell.

        
George Chichester       Arlington Court, Devon

Sarcofago e colonne con urne lacrimali. Scultore, Pietro Bazzanti/ Signature: P.BAZZANTI.F. Sec. XIX, post 7/1840. Ambito toscano. Monumento con sarcofago fra due colonne scanalate surmontate di lacrimali scolpito con lampade e inciso su un basamento di pietra serena, pulito in parte di Palazzo Spinelli, una lastra al fronte per la bambina, ora illegibile, in un recinto di pietra serena con colonne scanalate, una volta con ferro. [M: A: 193.5, L: 186, P: 49; P.s. A: 205, L: 188, P: 49; RP.s.: A: 70.5; L: 230.5; P: 212.] Iscrizione sepolcrale inglese incisa in lettere capitali e numeri arabi: BENEATH ARE DEPOSITED THE REMAINS OF/ MARIA WIFE OF CAPT GEORGE CHICHESTER/ OF ARLINGTON DEVON/ WHO DEPARTED THIS LIFE AT LEGHORN ON JULY 14 1840 AGED 24/ CUSTOM PRESCRIBES A MONUMENT AND WHATSOEVER/ IS DECOROUS BECOMES THEE AND SHOULD BE, ELSE MEMORY WILL NEED NO ARTIFICIAL AID FOR AS WIFE MOTHER OR A FRIEND THOU LIVEST IN ALL OUR HEARTS AND SHALL LIVE STILL/ Records, Guildhall Library, London: GL 23774 N° 8: "died suddenly at Leghorn", Burial 22/07, Rev. Tennant (F49)/ Maquay Diaries: 15 Jul 1840, 20 Jul., 22 Jul. Consults with Chichester's brother-in-law, Edward Marcus Whyte/ Obituary, Morning Post/ Registro alfabetico delle tumulazione nel Cimitero di Pinti: Chichester/ Firenze/ / Inghilterra/ Firenze/ 23 Ottobre/ 1839/ Mesi 8/ 187/ Chichester/ Madama [Maria]/ / Inghilterra/ Livorno/ 20 Luglio/ 1840/ / 204/ Henderson/ Descendant=Arthur Waddle. FLORENCE SUSAN CHICHESTER/ ENGLAND/ GL 23773/4 N° 78: d of Capt Chichester, born 03/02/39, baptized 14/03/39, Rev Tennant (F49); Burial 23-10, Rev. Tennant (F49). Chiesa Evangelica Riformata Svizzera, 1827-present.


Maria Teresa Colonna/A1F.4:

Maria Teresa Colonna. "L'arte della paura: Il giovanotto dagli occhi ardenti". Estratto da Rivista di psicologia analitica, n.d.

Maria Teresa Colonna. "Devozione e ribellione all'arché". Estratto da Rivista di psicologia analitica, 2003.

Maria Teresa Colonna. "L'escursione e il vagabondare, metafore per l'anima".Estratto da Rivista di psicologia analitica, 2006.

Maria Teresa Colonna."Jung e il suo daimon". Antologia Vieusseux 62, 2012.

Maria Teresa Colonna. "Varietà di Esilio. Una dimora per l'anima". Estratto da Rivista di psicologia analitica, n.d.

Elena Comparetti/C18:

Elisa Frontali Milani. Storia di Elena attraverso le lettere. La Rosa, n.d.

C28L/ C18/ 760/
ELENA RAFFALOVIC COMPARETTI/ RUSSIA/ ITALY
She married, unhappily, Domenico Comparetti, the great Catholic medievalist. Mikhail Talalay notes that she was a feminist and educator, daughter of the banker Lev Anisimovic Rafalovic, her mother a Polyakov, and that Samojlovna, the wife of her uncle Rafalovic Ljubov', is buried in the Allori Cemetery. Bibl.: Storia di Elena, a cura di E. Frontali Montali, Torino, La Rosa, 1980; M.A. Manacorda, 'La breve illusione pedagogica di Elena Comparetti' in L'educazione delle donne: Scuola e modello di vita femminile nell'Italia dell'800, a cura di S. Soldoni, Milano, Angeli, 1989. She is of the family of Don Lorenzo Milani Comparetti, likewise an educator.

     

Lastra. Marmista ignoto. Sec. XX, post 1918. Ambito toscano. Lastra in marmo, con lettere romane in ottone [M: A: 18; L: 60; P: 80.] Iscrizione sepolcrale in italiano in lettere capitali e numeri arabi in piombo: ELENA COMPARETTI/ RAFFALOVICH/ ODESSA 1842/ FIRENZE 1918/ [Comparetti/ Elena/ /Italia/ Firenze/ 29 Novembre/ 1918/ / 760 Later Hand]/ [Wife to prof. Domenico Comparetti] Talalay: Odessa 1842-1918; femminista, pedagoga, figlia del banchiere Lev Anisimovic Rafalovic e di Elena Jakovlevna Poljakova, moglie del filologo pisano Domenico Comparetti; nel Cimitero 'Agli Allori' si trova la tomba della moglie dello zio Rafalovic Ljubov' Samojlovna/1825-1883, HII11/ °=Valeria Milani Comparetti. Chiesa Evangelica Riformata Svizzera, 1827-present.
Компаретти, урожд. Рафалович, Елена Львовна, Одесса 1842 — Флоренция 1918, D28L [педагог].


Robert Davidsohn/ C1

Robert Davidsohn. Storia di Firenze. Trans. Giovanni Battista Klein. Firenze: Sansone, 1957. 8 volumes. Shelved in PE.

Robert Davidsohn (1853-1937) Uno spirito libero tra cronaca e storia. Atti della Giornata di Studio. Firenze: Leo S. Olschki Editore. 3 vols. Biblioteca dell'"Archivium Romanticum" 309. Leo S. Olschki Editore, Firenze, 2007.

Robert Davidsohn (1853-1937) Uno spirito libero tra cronaca e storia. Atti della Giornata di Studio. Firenze: Leo S. Olschki Editore. Extract from vol I. Biblioteca dell'"Archivium Romanticum" 309. Leo S. Olschki Editore, Firenze, 2007. Steffi Roettgen, Firenze, 2007.

Steffi Roettgen. 'Dal "Borsen-Courier" di Berlino al "Genio" di Firenze. Lo storico Robert Davidsohn e il suo lascito fiorentino'. Extract: Wissenschaft, Kunst und Forschungspolitik um 1900. Die Grundung des kunsthistorischen Instituts in Florenze. Hg. von Max Seidel, Venedig 1999. Steffi Roettgen, Firenze, 2007.

C21G/ C1/ 2024/ ROBERT DAVIDSOHN/ GERMANIA
Robert Davidsohn was the great historian of medieval Florence, who had come from Gdansk and spent a lifetime working in archives, compiling volume after meticulous volume in German to be translated into Italian. When he died in 1937 it was too dangerous to be known as Jewish. But now admirers place stones on his tomb in the Jewish custom. His wife, an opera singer, lived to be 100. I used his volumes in writing my Twice-Told Tales: Brunetto Latino and Dante Alighieri, finding that every archival reference he made was true.

 


Lastra. Marmista ignoto. Sec. XX, post 9/1937// 1947. Ambito toscano. Lastra in marmo, marmo sporco, rialzata su basamento in granito lucido. Intervento di pulitura e sostituzione lettere in piombo mancanti, Daniel-Claudiu Dumitrescu, 2010. [M: A: 7; L: 68; P: 188.5 ; P.s.: A: 14.5; L: 89; P: 200.] 2024/ Iscrizione sepolcrale in lettere capitali e numeri arabi in piombo: PHILIPPINE COLLOT/ VED. DAVIDSOHN/ 1847-1947/ 2024/ ROBERT DAVIDSOHN/ GERMANIA/ COMM. DOTT. PROF./ ROBERT DAVIDSOHN/ 26.4.1853-17.9.1937/ 2024/ °=Prof. Tim A. Osswald, University of Wisconsin Madison/ Belle Arti 1993-1997 scheda. Chiesa Evangelica Riformata Svizzera, 1827-present.

Cristina Donati/F6U.1:

Cristina Donati. Centro Studi Proggettazione Edilizia. L'Innovazione technologica della ricerca alla realizzazione. Milano: Mondadori, 2007.

Cristina Donati. Compact City: Nuovo entro civico Scandicci, Firenze. Milanno: Mondadori, 2014.

Massimo Mariani. Holistic Bank Design, Banca di Pisa e Fornacette.  A c. Cristina Donati. Firenze: Altralinea Edizioni, 2014.

Palazzo della Banca d'Italia a Firenze, Restauro della facciata monumentale. A c. Cristina Donati. Roma: Banca d'Italia, 2016.

Renato Severino, architetto in quattro continenti. A c. Cristina Donati. Firenze: Polistampa, 2018.

Mariella Zoppi, Cristina Donati. Guida ai Chiostri e Cortili di Firenze/ Cloisters and Courtyards of Florence. Firenze: Alinea, 1997.

Marion Fahy/F6U2:

John Lawrence. Marian Fahy, 1941-2011.

Jacques Augustin Galiffe/D47A,B,C:

Jacques Augustin Galiffe. Italy and its Inhabitants: An Account of .a Tour in that Country in 1816 and 1817: Containing a View of Characters, Manners, Customs, Governments, Antiquities, Literature, Dialects, Theatres, and the Fine Arts, with some Remarks on the Origin of Rome, etc. London: John Murray, 1820.

Jacques Augustin Galiffe. Matèriaux pour l'histoire de Genève. Genève: J. Barbezat, 1829. 2 vols.

Jacques Augustin Galiffe. Notices genéalogiques sur les familles genevoises, depuis les premiers temps, jusqu'à nos jours. Genève: J. Jullian, 1892.

D27N/ D47/ 523/ JACQUES AUGUSTIN GALIFFE/ SVIZZERA
We thought that three tomb bases from which the marble slabs have long gone in Sector A, at A57-59 (sono probabilmente tre i membri della famiglia Galiffe che riposano in queste tombe, lastra in marmo mancante. Lastra. Marmista ignoto. Sec. XIX, post 12/1853. Ambito toscano. Basamento privo della lastra. [P.s.: A: 12; L: 82; P: 160.]) were for three members of the Galiffe family, but other clues suggest they were buried instead in Sector D, at D47, which are tombs that we had thought were for the Pellew husband and wife. Pastor Luigi Santini wrote concerning Jacques Galiffe, that this 'Genevan historian and genealogist [in the style of Sismondi, his contemporary], lived and engaged in trade for a time in Holland, Germany and Russia, but returned to Geneva during the Napoleonic period to share in the troubles of his city. Turning to history he was in a sense the first Genevan historian to make use of documentary and archivistic sources with scientific intent. The results of his historic research, however, stripped of artifice and adulation, made him the centre of such controversy and hostility that in the end he preferred to emigrate to Florence. Italy owes to him the first systematic study of the Italian religious exiles of the sixteenth century. His daughter Sophie (1825-1841) and his second wife, Amélie Franço Pictet (1790-1872), daughter of the Charles Pictet who was the Swiss delegate at the Congress of Vienna, are also buried in the cemetery'. On the Web we find, in English, the following account: 'Jaques (James) Augustin Galiffe, (son of Barthelemy Galiffe and Marie Naville, and brother of Colonel Jean-Pierre, No XII as above) born on 7th April 1776 godson of Jaques Rilliet-Plantamour and of Augustin de Candolle - historian and genealogist. His studies for the magistracy or diplomacy were unfortunately brought to an end by the Revolution which ruined his family and compelled him to emigrate. He then adopted the commercial profession for which he had no vocation, but it was the only one in which he could hope to acquire independent means, by his aptitude for work, and his remarkable gift for languages. Besides Latin and Greek of which he was a master and English which he spoke and wrote as his mother tongue, he knew German, Dutch, Russian, Spanish and Italian, and was conversant with most of the popular dialects of the latter. This enabled him to obtain very important posts in the best banking houses of London, Holland, Germany and Russia, but these occupations did not prevent him from continuing his favourite studies, literature, languages and specially history which his frequent travels gave him opportunities of studying in the principal libraries and archives of Europe. Deeply attached to his native land, he remained zealous for what was called "the good cause", the triumph of which could alone restore the independence of Geneva. When therefore Lord Carlisle, in 1798 introduced in Parliament a motion to help the Swiss against the French, Galiffe volunteered to undertake the dangerous task of intermediary. He was then in frequent communication with the principal members of Parliament, the Duke of Portland, Lord Fitzwilliam, Lord Grenville and the famous Pitt, whose support had to be obtained. Finding that negotiations were dragging he did not hesitate to sacrifice his excellent position in London to proceed with a few friends firmly determined to accomplish their object in the best way that circumstances would permit. Adverse news from the theatre of the war stopped him on the way, and he enlisted as a Volunteer in a Militia Corps which was raised in England when a French invasion was expected. - After several years spent in Holland, at Gottingen, Hamburg and Berlin, he entered in 1805 the firm of Baron de Rall, banker of the Imperial Court at St. Petersburg. - M. de Speransky who was then Prime Minister made him tempting offers to enter the Russian Civil Service, but the fear of sacrificing his independence led him to refuse them, as also a proposal to take the direction of a Russian National Bank which was then being discussed.  It was during that period of his life that he kept a very interesting correspondence with Mme de Stael. On receipt of the news that the independence of Geneva was seriously threatened by the return of Napoleon, Galiffe gave up his splendid prospects in Russia to return and enlist as a private in the Geneva contingent, in which he served throughout the campaign of Franche-Comte, first as Staff-secretary and afterwards as an Officer. After the death of his parents, he went to Italy in 1816, and related his travels in his first book, "Italy and its inhabitants" published (in English) in London, which the reviews of the time described as one of the best of its kind. In 1820, the brothers Brougham, appointed to defend Queen Carolina, called him twice to Milan, where his indispensable assistance was required by them in the preparation of that famous trial. Having returned to Geneva where he married and resided till 1841, he set himself to study the history of his country, and worked at it until his death. Appointed to the "Commission des Archives" he undertook by himself, and gratuitously, to sort and classify thousands of documents which had been completely neglected since the Revolution, and which during the foreign occupation had been left in a state of chaos and filth. For over twenty years he persevered in this fatiguing work with a zeal which undermined his health, but neither his illness, nor his infirmities nor even the difficulties placed in his way by the ignorance and contempt of those who should have helped him, could stop him in his self-imposed task. Not only did he reconstitute the Archives of Geneva and save them from certain destruction, but he searched for every item of information necessary to control and complete them, not only in the archives of neighbouring towns but all over Switzerland, in the registers of parishes and castles in Savoy, in the Pays de Gex, at Lyons, Dijon, Paris, Chambery, Turin, Lucca and Florence. From 1829 to 1831 he published successively as first result of his work, two volumes of "Materials for the History of Geneva" and 2 volumes of "Genealogical Notices on Genevese families" (the third appeared in 1835). This at once established his reputation as an historian of Geneva, but only the experts can realise the labour which these books represent. The "Letters on the Middle-Ages", addressed in 1838 to the famous historian Schlosser, are the last historical work which he gave to the public. Schlosser declared in his "Heidelberger Yahrbucher 1839" that it was the best and most learned essay he had read, as regards knowledge and criticism of the subject. The "Letters written from Paris" had been addressed by Galiffe in 1827 to his intimate friend, Lord Brougham, Chancellor of England. They were published in 1830 at the request of several persons to whom they had been communicated and who had been struck by the wonderful foresight with which the author had anticipated the events and solution of the political situation in France. Although he filled no public functions in Geneva, except that of Municipal Councillor for the commune of Satigny, he took an active part in all political and religious discussions. Full of sympathy with the principles of Aristocracy yet he condemned them when they were opposed to progress, of which he was a sincere partisan and consequently he sometimes felt himself awkwardly situated at a time when compromise was considered as a doctrine in the political system. Sincere and convinced protestant, although a declared enemy of the calvinist dogma and system, he was a zealous champion of the liberty of creed, and in 1835 he vehemently opposed the celebration of the Jubilee of the Reformation, which he considered a blunder likely to cause discord between the citizens of the two religions. (Lettres a un pasteur du Canton, 1835) The general public is only acquainted with a portion of Galiffe's works, as the major portion is still unpublished. Besides his writings on all branches of the history of Geneva, he left a large number of sketches, notes, extracts, historical, literary and artistic criticisms, studies on languages, a very learned genealogical notice on the principal houses of the princes and counts of Southern and Central Europe, shedding considerable light on the most obscure period of the Middle-Ages, and lastly a voluminous correspondence.  The latter part of his literary legacy is not the least interesting item, as he was in constant communication with the celebrities of many countries. To those already named, Mme de Staël and Lord Brougham, (Lord Chancellor of England and one of his intimate friends) must be added, Mr Backhouse, Minister of Foreign Affairs, and Lord Grosvenor, afterwards Marquis of Westminster. Among politicians and statesmen may be named Lord Fitzwilliam, Viceroy of Ireland, Lord Carlisle, Lord Palmerston, William Russell, Capo d'Istria, Marquis Luchesini, Ambassador to Prussia, Count Rossi, Baron Stein, Wickham, British Minister with the Army of Princes, M.de Speransky, Prime Minister of Russia, and Count J de Maistre - among historians, Messrs de Barante, Thierry, Mignet, Michelet, Sismondi, Schlosser, Karamzine, Viasemsky, and in Switzerland, de Mulinen, de Grenus, d'Estavayer, de Gingins, de Charriere - among professors, Fellenberg and Bonstetten - among women-authors, Lady Charlotte Bury, Mme de Montolieu, Miss Edgeworth, Mme Necker de Saussure - among musicians, Dusseck, C M de Weber, Steibelt, Field and Abbe Litz who owed him his first letters of recommendation - the poet C Didier whom he was the first to encourage, the famous naturalist Agassiz whom he assisted pecuniarily in the prosecution of his studies, etc., etc. - As historian of Geneva, Galiffe is certainly the pioneer of the modern school of History. His publications, drawn direct from authentic documents shocked many people by the discredit which they seemed to throw on the conventional ideas of the old school, which the dominating party of the time considered as a sort of Palladium. Tired at least of the worries caused by his keen polemics, he preferred to go and settle with his family in Tuscany, without waiting for the political reaction which he had foreseen, and died at Florence 15th December 1853.  (See "Notice on the life and works of J A Galiffe" - D'un siecle a l'autre Journal de Geneve 31st December 1853 - Memoires de la Societe d'histoire et d'archeologie 1854 - Les etudes genealogiques a Geneve, by Professor Ritter - Histoire de Geneve, by Gaullieur.) Married 1st, 20th October 1817, Elizabeth Philippine only daughter of No: Jean Antoine de Claparede, President of the Civil Tribunal, and of Alexandrine-Jeanne-Antoinette Dunant died 18th April 1825. 2nd: 26th May 1827, Amelie Francoise, daughter of No: Charles Pictet, Honorary Councillor, plenipotentiary Minister of the Swiss Confederation at the Congress of Vienna, Paris and Turin, and of Sara de Rochemont, died at Florence 14th August 1872. He had by the first: (1) Jean-Barthelemy, who follows: (2) Sophie Anne Marie Catherine, born 16th April 1825 god-daughter of Prince Pierre Andreiowitch Viasemsky, died at Florence 14th November 1841. She showed remarkable dispositions for literature and music. Jean (John) Barthelemy Gaifre Galiffe, born at Geneva 31st July 1818, godson of John Thellusson, Lord Rendlesham, of John Backhouse, Minister of Foreign Affairs London, and of Mme Thellusson-Ployard.

 

Tabernacolo. Sec. XIX, post 9/1849. Ambito toscano. Tabernacolo in marmo scolpito con elementi gotichi, recinto in pietra serena. Possibile intervento di consolidamento e pulitura. [M: A: 254; L: 64; P: 25; RM: 2.5; L: 286; P: 186; RPs: A: 77; L: 300; P: 227.] ( Eglise Evangelique-Reformèe de Florence Règistre des Morts: Jacques Augustin Galiffe, Genève, Confederation Suisse, Rentier/ I: 1852-1859 'Registre des Sepultures avec detail des frais, Paoli 362/ Q 98: 300 Paoli/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Galiffe/ Giacomo A./ / Svizzera/ Firenze/ 15 Dicembre/ 1853/ Anni 77/ 523. Chiesa Evangelica Riformata Svizzera, 1827-present. 

D27N/ D47B/ 228/ SOPHIE ANNE MARIE CATHERINE GALIFFE/ SVIZZERA
Sophie Anne Marie Catherine, born 16th April 1825, daughter to Jacques Augustine Galiffe, god-daughter of Prince Pierre Andreiowitch Viasemsky, died at Florence 14th November 1841. She showed remarkable dispositions for literature and music. Her brother, Jean (John) Barthelemy Gaifre Galiffe, - who is not buried here - was 'Educated at the Fellenberg Institute, Hofwyl; Doctor of Law of the University of Heidelberg 1842, Mayor of the Commune of Satigny 1853-1858.  Deputy to the Grand Conseil (Legislative Council) 1854, professor of National history at the Academy of Geneva 1861-65, Consul 1866, and afterwards Consul-General for Denmark with the Swiss Confederation 1883 - represented that power at the 2nd Congress of the Red-Cross at Geneva 1868, and at the Congress of the Universal Postal Union at Berne 1875. - Member (active, honorary or corresponding) of nearly all the historical or archaeological societies of Switzerland, of the National Geneva Institute, of the Royal Committee of National History of Italy, of the Academy of Savoy, and of the Archaeological Society of the Rhenish Provinces, etc., etc., Knight of the Danish order of Danebrog, and of the Italian order of St. Maurice et Lazare.  Died 25th February 1890 - Following his father's footsteps he devoted the greater part of his life to studies of history, archaeology, genealogy and heraldry, in which his native country held the foremost part.  Expert as learned as he was exact and conscientious, he left a series of solid works the value of which is as much appreciated abroad as it is in Geneva, and he is justly entitled to be considered as one of the first, and possibly the best known of Geneva's National Historians.

N° 135       Sophie Galiffe Claparede, fille de Jacques Galiffe de Genève, âgé
                     de 16 ½ ans, morte à Florence le 14 9bre, 1841, a été enseveli le 16
                     du même mois dans le cimetière del'Eglise évangelique de Florence
                                                               Mse Droin Pr~

Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Galiffe [Claparede]/ Sofia/ Svizzera/ Firenze/ 14 Novembre/ 1841/ Anni 16/ 228. Chiesa Evangelica Riformata Svizzera, 1827-present. 


D27N/ D47C/ 1178
AMALIE PICTET GALIFFE/
SVIZZERA

Amelie Francoise, daughter of No: Charles Pictet, Honorary Councillor, plenipotentiary Minister of the Swiss Confederation at the Congress of Vienna, Paris and Turin, and of Sara de Rochemont, wife, then widow, to Jacques Augustin Galiff, died at Florence 14th August 1872. She had a long widowhood, but also the consolation of her husband's and her father's fame. Their tombs are now seemingly lost, but the records indicate that Amalie Pictet Galiffe was buried in Sector C, which corresponds to the modern Sectors C and D, while the number 1178 is chiseled to the left side of D47. Admiral Pellew's wife's tomb was relocated to be beside him in Sector A, A111-112.



Eglise Evangelique-Reforméée de Florence Régistre des Morts: Amalie Galiffe, fille de Charles Pictet/ IV: 1871-1875 'Registre des Sepultures' avec detail des frais, Francs 307, C/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Galiffe nata Pictet/ Amalia/ Carlo/ Svizzera/ Firenze/ 14 Agosto/ 1872/ Anni 82/ 1178. Chiesa Evangelica Riformata Svizzera, 1827-present. 


Joseph Garrow/B108:

Joseph Garrow. The Earliest Life of Dante.

B12G/ B108/ 624/ JOSEPH GARROW/ INDIA
Thomas Adolphus Trollope, What I Remember, II.150-159: The little boy was born to the Indian Civil Servant's wife, Sultana, who was said to be an Indian princess. Joseph Garrow senior left his son Joseph £5,000, the interest to be used for his education ‘which I desire may be as good as he is capable of receiving in Europe’. He left his sister Eleanora Garrow £2,000 and a further £1,000 on condition that she ‘takes care of and attends to the education’ of his son. Eleanora certainly seems to have been Joseph’s affectionate aunt, and in her will, proved in July 1805, she left him £1,000 in 4% stock, to be given to him when he was 21. She also left £1,000 and some silver items to John Wright, her father’s nephew who was at Caius College, Cambridge, ‘in expectation he will continue as far as lies in his power to be a kind Friend to the dear Son of my late worthy Brother Joseph’. John Wright was in his early 30s and was about to take deacon’s orders. Joseph Garrow translated, The early life of Dante Alighieri, which he published with the Italian and English on facing pages. It was printed in Florence by Felix Le Monnier in 1846. Times Literary Supplement 17/5/1920, remarked 'but it is a curious footnote to the literary annals of Anglo-India which proves that the son of an Indian mother lived to translate Dante and to move in a circle where the Brownings and Landor were the greater lights'. JLMaquay, Diaries 13/11/1857 'old Garrow wretched man died on Tuesday paralytic stroke.' His daughter Theodosia (T. Garrow on the title page) made a translation of Giovanni Battista Niccolini’s, Arnold of Brescia, a tragedy, and this was published in London, also in 1846. See B85/ THEODOSIA (GARROW) TROLLOPE, C77/ HARRIET THEODOSIA FISHER (GARROW). See also Neil Jeffares, Dictionary of pastellists before 1800, Russell1.pdf

  
  
Joseph Garrow, Joseph [or, less likely, Sir William Garrow], Eleanor

Cippo. Marmista ignoto. Sec. XIX, post 11/1857. Ambito toscano. Cippo in pietra serena a sostituzione del cippo originario (non siamo a conoscenza dell'epoca), frammenti cippo originario conservati, inciso con iscrizione sepolcrale in latino in lettere capitali e numeri arabi, epitaffio di Thomas Adolphus Trollope, genero di Joseph Garrow. [M: A: 104. L: 60. P: 19.] Iscrizione sepolcrale in latino in lettere capitali e numeri arabi: HIC JACET IOSEPHUS GARROW/ ARMr/ DE BRADDONS IN AGRO DEVON/ APUD INDOS NATUS/ A.D. 1789/ FLORENTIAN DENATUS/ A.D. 1857/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Joseph Garrow, d'Angleterre/ I: 1852-1859 'Registre des Sèpultures avec detail des frais', Paoli 685/ Q 280: 408 Paoli/ Records, Guildhall Library, London: GL23777/1 N°242, Burial 12/11, Rev O'Neill; marriage of child Theodosia 03/04/48 to Thomas Adolphus Trollope at HBM (Hamilton), Joseph Garrow, Harriet Fisher, Frances Trollope present, Rev Robbins (E101)/ Maquay Diaries: 13 Nov 1857/ Morning Chronicle/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Garrow/ +/ Giuseppe/ / Inghilterra/ Firenze/ 10 Novembre/ 1867 [1857]/ Anni 67/ 624/ father of Theodosia Garrow-Trollope (12 Aprile/ 1865/ Anni 46/ 904/+/ C11E), stepfather of Harriet Theodosia Fisher (12 Novembre/ 1848/ Anni 37/ 393/ Latin epitaph written by Thomas Adolphus Trollope). See Giuliana Artom Treves, Golden Ring, pp. 137/Chiesa Evangelica Riformata Svizzera, 1827-present. See Mediatheca 'Fioretta Mazzei' holdings, TAU

Gigliucci Family/C19-C22:

Richard Brinsley Sheridan. The Dramatic Works with a Memoir of his Life. London: Bell and Daldy, 1866. Copy owned by Clara Novello Gigliucci,1867.

D29M/ C19/
COUNTESS EDITH MARGARET (MOZLEY) GIGLIUCCI/ ENGLAND/ C20/ CONTE MARIO GIGLIUCCI/ ITALIA/ ENGLAND
The two Counts Gigliucci are the sons of Clara Novello, the English singer of the great music publishing family. Her father, Vincent Novello, was an Italian who married an Englishwoman. Clara Novello opened the 1851 Crystal Palace Exhibition her voice filling the whole vast hall without electronic support, B32/ HIRAM POWERS' 'Greek Slave' being placed at the centre of that Crystal Palace. Mary Somerville in her autobiography gives a fine account of listening to Clara Novello, in old age, still singing exquisitely. The counts in turn marry two sisters, daughters of the Jewish Lord Mayor of Liverpool, Charles Mozley.  Garibaldi was frequently a visitor to Clara and her son, Count Mario, who fought for him during the Risorgimento. Clara (like Eleanora Duse) had to resume her singing career to support her family when their property was lost. Based in Fermo, except when in exile, their Florentine residence was the Villa Rosa which now houses Syracuse University in Piazza Savonarola, Florence. The American University paid for the restoration of these tombs, whose pietra serena was crumbling into sand, by Alberto Casciani, and Aureo Anello contributed the work of Daniel-Claudiu Dumitrescu conserving the iron and brass railings around them. A further monument for this family is to be found in the Santissima Annunziata.

                                     
  The musical Novello family                       Edith Margaret Gigliucci
                                                                           John Gibson, R.A. Royal Academy of Arts, London


Urne. Marmista ignoto. Sec. XX, post 12/1909// 1/1937. Ambito toscano. Urne in  pietra serena, scolpite con stemma e gigli, recinzione in ferro e ottone. Intervento di restauro conservativo Meridiana Restauri di Alberto Casciani, 2008; intervento conservativo su ferro e ottone Daniel-Claudiu Dumitrescu, 2008//[Stemma]/ Iscrizione sepolcrale incisa in lettere capitali e numeri arabi: EDITH MARGARET/ MOGLIE DEL CONTE MARIO GIGLIUCCI/ NATA LIVERPOOL IL 26 AGOSTO 1847/ MORTA IN FIRENZE IL 16 NOVEMBRE 1909// CHARITATEM/ DILEXIT [Ephesians 2.4]/ C20/ CONTE MARIO GIGLIUCCI/ ITALIA/ ENGLAND Intervento conservativo sulla pietra serena Meridiana Restauri di Alberto Casciani, 2007; intervento conservativo su ferro e ottone Dumitrescu, 2008. [P.s.: A: 63; L: 176; P: 64; RP.s.F: A: 67; L: 192; P: 192.][Stemma]/ CONTE MARIO GIGLIUCCI/ PATRIZIO FERMANO/ NATO A FERMO IL 19 NOVEMBRE 1847/ MORTO A FIRENZE IL 13 GENNAIO 1937/ RECTE ET SUAVITER/ Belle Arti 1993-1997 scheda/ °=Kathleen Novello Cashman. Chiesa Evangelica Riformata Svizzera, 1827-present. Mediatheca 'Fioretta Mazzei', Clara Novello's Reminiscences, ed. by her daughter, Contessa Valeria Gigliucci, with a memoir by Arthur D. Coleridge (London: Edward Arnold, 1910), TAU.

D30M/ C21/ COUNTESS CHARLOTTE SOPHIA (MOZLEY) GIGLIUCCI/ ENGLAND/ D30L/ C22/ CONTE GIOVANNI GIGLIUCCI/ ITALIA/ ENGLAND
The two Counts Gigliucci are the sons of Clara Novello, the English singer of the great music publishing family, who in turn marry two sisters, daughters of the Lord Mayor of Liverpool. Their Villa Rosa is now owned by Syracuse University in Florence. The forsythia on the arch is always the first to flower, even in December-January, in the Cemetery. See above for the fuller account.

   

Urne. Marmista ignoto. Sec. XX, post 12/1906//2/1920. Ambito toscano. Urne in pietra serena scolpite con stemma e gigli, recinzione in ottone e ferro, arco in ferro. Intervento di restauro Meridiana Restauri di Alberto Casciani, 2008; intervento conservativo sul ferro e sull'ottone Daniel-Claudiu Dumitrescu, 2008// [Stemma]/ Iscrizione sepolcrale incisa in lettere capitali e numeri arabi: CHARLOTTE SOPHIA, MOGLIE DEL CONTE GIOVANNI GIGLIUCCI/ NATA A LIVERPOOL IL 4 AGOSTO 1841/ MORTA A FIRENZE IL 12 FEBBRAIO 1920/ ET LAUDENT EAM IN PORTIS OPERA TUA/ D30L/ C22/ CONTE GIOVANNI GIGLIUCCI/ ITALIA/ ENGLAND/ Intervento di restauro conservativo Meridiana Restauri, 2008; intervento conservativo su ferro e ottone Daniel Dumitrescu, 2008/ [P.s. A: 67; L: 173; P: 65; RP.s.F: A: 68; L: 192; P: 192.] [Stemma]/ CONTE GIOVANNI GIGLIUCCI/ PATRIZIO FERMANO, NATO A FERMO IL 18 NOVEMBRE 1844/ MORTO A FIRENZE IL 6 DICEMBRE 1906/ VIRTUTE ET FIDE BENE QUI LATUIT BENE VIXIT/ Belle Arti 1993-1997 scheda/°=Kathleen Novello Cashman. Chiesa Evangelica Riformata Svizzera, 1827-present.

Thomas Ayrault Jackson/E62

Jacqueline Marie Musacchia. "Jane M. Healey Jackson, a Sculptor's Life Abroad". Florence, Berlin and Beyond: Late nineteenth-Century Art Markets and their Social Networks. Ed. Lynn Catterson. Leiden: Brill, 2020. P. 367.

E13O/ E62/ 964/ THOMAS AYRAULT  JACKSON/ AMERICA
Not a year old. His father, Jacqueline Marie Musacchio and John McGuigan note, was the American sculptor John Adams Jackson, his sister Margaret who survived him, became a Wellesley professor of Italian literature. It is possible his father designed his now-restored tomb.

    


Cippo.
Marmista ignoto. Sec. XIX, post 9/1867. Ambito toscano. Cippo in marmo con croce, marmo sporco, colonnine recinto in pietra serena rotte.
Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2018. [M: A: 87; L: 52; P: 22.5; P.s. A: 37.5; L: 57.5; P: 28; RP.s.: A: 78; L: 91; P: 203.2.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: THOMAS AYRAULT/ INFANT SON OF JOHN AND JEANIE JACKSON/ BORN SEPT 10 1866 DIED JAN 8 1867/ - / GOD TOOK THEE IN HIS MERCY/ A LAMB UNTASKED UNTRIED/ HE FOUGHT THE FIGHT FOR THEE/ GIVE THEE THE VICTORY/ AND THOU ART SANCTIFIED/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Jackson/ Tommaso/ Giovanni/ Inghilterra/ Firenze/ 8 Gennaio/ 1867/ Mesi 11/ 964/ + / N&Q 362. Thos. Ayrault, inf. s. of John A. and Jeanie Jackson, b. 10 Feb., 1866; ob. 8 Jan., 1867. Pulitura, Dumitrescu, 2018.  Chiesa Evangelica Riformata Svizzera, 1827-present.

Arnold Henry Savage Landor/F4U.1:

A. Henry Savage Landor. Across Coveted Lands or a Journey from Flushing (Holland) to Calcutta, Overland. London: Macmillan, 1902; Reprint, Elibron Classics. 2 vols. Piero Fusi, Firenze, 2010.

A. Henry Savage Landor. Alone with the Hairy Ainu or 3,8000 miles on a Pack Saddle in Vezo and a Cruise to the Kurile Islands. London: Murray, 1893. Piero Fusi, Firenze, 2010.

A. Henry Savage Landor. Everywhere. Translation on CD into Italian in LIBKHETH. Two further CDs with his travel paintings. Piero Fusi, Firenze, 2005.

Piero Fusi. A Henry Savage Landor. Sono arrivati gli inglesi: Ritratti s storie dell'Inglese di Caloppiano tratti da Everywhere, the Memoris of an Explorer (1924). Vinci, 2017. 2018.

John Landor/F4U.3:

John Landor, M.D. From Anaconda to the North Star and Beyond: The Life of Lester Dragstedt, Physiologist-Surgeon. John Landor, 2000. 'In Loving Memory of John Henry Landor, his family presents this book to the "Cimitero degli Inglesi"' Signed, Mary Gibbons Landor, Gina Landor, Jenifer Landor, Giulia Landor, Christopher Todd Landor, John Randall Landor, Derric Savage Landor, Marie-Helene Raimbault Landor, Melissa Landor, Floriane Landor, Elliot Landor, Luka Vlaskalic, Grdjan Vlaskalic, Elizabeth Gibbons, Maxine, Picarro, Nicholas Picarro, Sofia Picarro, David Scott Gibbons, Marley Prescott Gibbons, Wilson Rockingham Gibbons', Florence 2007.

Adolfo Mussafia/C27

Giorgio Hessmann. Der Neue Mussafia: Lehr un Ubungabuch der italienischen Umgangasprache. Wien; Braumuller, 1936.

[
Mussafia, Adolfo. ‘Sul testo del Tesoro di BL, Studio di Adolfo Mussafia presentato nella tornata della classe, 1868’. Denkschriften Kaiserlichen Akademie der Wissenschaften 18-19 (1868), 265-334, and Vienna: Imperiale Regia Tipografia di Corte e di Stato, 1869.

This Italo-Austrian scholar also published this thesis a third time as an appendix to Sundby, Appendix II, pp. 279-388. He notes that there are two principal Tesoro MS families, of which one is in print. He, like Minckwitz, proposed a new edition which did not materialize.]


C28I/ C27/ 2011/
ADOLFO MUSSAFIA/ TRIESTE/ REGINA MUSSAFIA/ AUSTRIA
Adolfo Mussafia, from a Jewish family in Trieste, Professor in Vienna, was a great scholar of Dante and his teacher, Brunetto Latino, and for this chose to be buried in Florence rather than under Austrian hegemony, his wife arranging for her ashes
from Vienna to be buried with his in death and his papers given to the University of Florence. It is most appropriate that he and Robert Davidsohn now lie so close to each other. He has an entry in Wikipedia. His descendant, Professor Leopoldo Stefanulti, who looks exactly like the medallion portrait of Adolfo Mussafia on his tomb, arranged for its repair and cleaning by Daniel-Claudiu Dumitrescu. This is one among several tombs with a portrait medallion: A64/ GEORGE AUGUSTUS WALLIS by Aristodemos Costoli, A15/ ANNE SUSANNA (LLOYD) HORNER by Francesco Jerace; AB7/ INA BOSS SAULTER, by Ettore Ximenes; B4/ ELENA NIKITICNA DIK, NATA AKZYNOVA by Fyodor Fyodorovitsch Kamensky; C3/ THOMAS SOUTHWOOD SMITH by Joel T. Hart; C27/ Adolfo Mussafia; D108/ THEODORE PARKER by William Wetmore Story; D127/ JAMES ROBERTS, by Joel T. Hart?; E12/ JAMES LORIMER GRAHAM, JR by Launt Thompson; E9/ WALTER KENNEDY LAWRIE by Pietro Bazzanti, F27/ PHILIPPINA (SIMONS) CIAMPI, by Joel T. Hart?)

 

Sarcofago.
Marmista ignoto. Sec. XX, post 6/1905// 3/1915. Ambito toscano. Sarcofago in marmo bianco scolpito, tondo con la sua effige (apice naso mancante o eroso) posto su quattro colonne in marmo grigio e lastra in marmo bianco (piccole parti distaccate), sul fronte e tergo e sui due fianchi laterali ghirlande e festoni, recinto in pietra serena. Possibile intervento di consolidamento e pulitura sul marmo (richiesta da parte di un discendente.  [M: A: 72; L: 91.8; P: 52.5; A Colonne: A: 119.5; Circum: 49; L/P: 24.5; M Base: 17.6; L: 123.3; P: 82; RP.s.: A: 43.5; L/P: 201.]/ Iscrizione sepolcrale incisa in lettere capitali e numeri arabi e romani: ADOLFO MUSSAFIA/ N. A SPALATO, IL 15 FEBBRAIO 1834/ M. A FIRENZE IL 7 GIUGNO 1905 / LA MOGLIE INCONSOLATA/ REGINA MUSSAFIA/ AUSTRIA/ DELLA VEDOVA REGINA MVSSAFIA MORTA A VIENNA IL XV/ MARZO M.D.CCCC.XV. QVI PER SVO VOLERE FVRONO DEPOSTE LE CENERI IL SUSSEGVENTE XI APRILE/ 2011/ Belle Arti 1993-1997 scheda/°=Leopoldo Stefanulti. Chiesa Evangelica Riformata Svizzera, 1827-present.

Bartolomeo Odicini/A47:

Mario De Carolis. Garibaldi ferito in Aspramonte. Arpino: Arpinate Stampa, 2011.

Bartolomeo Odicini. A Roma il Papato, Risposto di Bartolomeo Odicini. Firenze, 1861.

A5C/ A47/ 1341/ DOTT. BARTOLOMEO ODICINI/ ITALIA/URUGUAY
This doctor, born in Genova, treated Anita Garibaldi and her starving children in Montevideo, Uruguay, and, later, Garibaldi himself after the Battle of Aspramonte. It is interesting that the two doctors, Sir David Dumbreck and Bartolomeo Odicini, are buried side by side.

 
 
Il dott. Odicini e suoi figli, Uruguay

Colonna. Marmista ignoto. Sec. XIX, post 1/1876. Ambito toscano. Colonna in marmo, recinto in ferro. Intervento di pulitura da Daniel-Claudiu Dumitrescu, 2010.. [M: A: 214; circum 135.5; L/P: 80.5; RF: A: 35; L: 90; P: 210.] Iscrizione sepolcrale in spagnole in lettere capitali e numeri romani e arabi, incisa: AQUI DESCANSA EL DOCTOR BARTOLOME ODICINI / MDCCCLXXVI// 1341/ Registro alfabetico delle tumulazioni nel Cimitero di Pinti: Odicini/ Bartolommeo/ Pietro Antonio/ Italia/ Firenze/ 22 Gennaio/ 1876/ Anni 69/ 1341/ °=Scholar, Mario De Carolis, 2011. Intervento di pulitura, Dumitrescu, 2011. Chiesa Evangelica Riformata Svizzera, 1827-present.


Theodore Parker/ D108

Dean Grodzins. American Heretic: Theodore Parker and Transcendentalism. Chapel Hill: University of North Carolina Press, 2002. Thomas Belz, Woodridge, NJ, 2004.

D21Q/ D108/ 698
/ THEODORE PARKER/ AMERICA
Pastore Luigi Santini: 'Born of a modest family in Lexington, Massachusetts, he studied at Harvard Divinity School, specializing in a study of German theology. He was drawn to the ideas of Coleridge, Carlyle and Emerson. In 1842 his doubts led him to an open break with orthodox theology: he stressed the immediacy of God and saw the Church as a communion looking upon Christ as the supreme expression of God. He organized the first congregations, called Unitarian, in Boston, and participated in the fight for the abolition of slavery. Seriously ill, he sought refuge in Florence because of his friendship with the Brownings, Isa Blagden and F.P. Cobbe, but died scarcely a month following his arrival. Frances P. Cobbe collected and published his writings in 14 volumes; his compatriot John Hart made the original simple tombstone'. This is what Frederick Douglass published on him:
Next to Rome, in point of interest to me, is the classic city of Florence, and thither we went from the Eternal City. One might never tire of what is here to be seen. The first thing Mrs. Douglass and I did, on our arrival in Florence, was to visit the grave of Theodore Parker and at the same time that of Elizabeth Barrett Browning (B8). The preacher and the poet lie near each other. The soul of each was devoted to liberty. The brave stand taken by Theodore Parker during the antislavery conflict endeared him to my heart, and naturally enough the spot made sacred by his ashes was the first to draw me to its side. He had a voice for the slave when nearly all the pulpits of the land were dumb. Looking upon the little mound of earth that covered his dust, I felt the pathos of his simple grave. It did not seem well that the remains of the great American preacher should rest thus in a foreign soil, far away from the hearts and hands which would gladly linger about it and keep it well adorned with flowers. Than Theodore Parker no man was more intensely American. Broad as the land in his sympathy with mankind, he was yet a loving son of New England and thoroughly Bostonian in his thoughts, feelings, and activities. The liberal thought which he taught had in his native land its natural home and largest welcome, and I therefore felt that his dust should have been brought here. It was in his pulpit that I made my first antislavery speech in Roxbury. That its doors opened to me in that dark period was due to him. I remember, too, his lovingkindness when I was persecuted for my change of opinion as to political action. Theodore Parker never joined that warfare upon me. He loved Mr. Garrison, but was not a Garrisonian. He worked with the sects, but was not a sectarian. His character was cast in a mold too large to be pressed into a form or reform less broad than humanity. He would shed his blood as quickly for a black fugitive slave pursued by human hounds as for a white President of the United States. He was the friend of the non-voting and non-resistant class of abolitionists, but not less the friend of Henry Wilson, Charles Sumner, Gerrit Smith, and John Brown. He was the large and generous brother of all men, honestly endeavoring to bring about the abolition of Negro slavery. It has lately been attempted to class him with the contemners of the Negro. Could that be established, it would convict him of duplicity and hypocrisy of the most revolting kind. But his whole life and character are in direct contradiction to that assumption.
While he had written the following in his diary:





Following this visit
to see Theodore Parker's tomb, Douglass agitated for a better monument to honour him, William Wetmore Story being commissioned to carry out the present one. Story had already created a bust of Parker from life in Rome, and now portrayed him in bas-relief. This is one among several tombs with a portrait medallion: A64/ GEORGE AUGUSTUS WALLIS by Aristodemos Costoli; A15/ ANNE SUSANNA (LLOYD) HORNER by Francesco Jerace; AB7/ INA BOSS SAULTER, by Ettore Ximenes; B4/ ELENA NIKITICNA DIK, NATA AKZYNOVA by Fyodor Fyodorovitsch Kamensky; C3/ THOMAS SOUTHWOOD SMITH by Joel T. Hart; D108/ THEODORE PARKER by William Wetmore Story; D127/ JAMES ROBERTS, by Joel T. Hart?; E12/ JAMES LORIMER GRAHAM, JR by Launt Thompson; E9/ WALTER KENNEDY LAWRIE by Pietro Bazzanti, F27/ PHILIPPINA (SIMONS) CIAMPI, by Joel T. Hart? When President Obama ordered the carpet for the Oval Office he included words he thought originated with Martin Luther King, Jr., but which are actually Parker's words abbreviated by King from a sermon Parker preached against slavery in 1853: 'How long? Not long because the arc of the moral compass is long, but it bends towards justice'. He quoted them again at Nelson Mandela's funeral.

            
                      
        
Theodore Parker's desk with statues                                      Frederick Douglass at Lloyd Garrison's tomb
of Jesus and Spartacus                    Joel Hart(F28)'s tomb for Theodore Parker                        William Wetmore Story's tomb for Theodore Parker

Cippo.
Primo cippo scultore Joel Tanner Hart, secondo cippo (l'attuale) di William Wetmore Story. Sec. XIX, post 5/1860. Ambito toscano. Cippo in marmo scolpito, entro medaglione con foglie d'alloro effige di Theodore Parker. Intervento di restauro conservativo Scuola per l'Arte ed il Restauro di Palazzo Spinelli, 1999; Intervento di restauro e pulitura dopo il temporale, di Daniel-Claudiu Dumitrescu, 3/2014-2015  [M: A: 200; L: 90.5; P: 29; RP.s. A: 24; L: 115; P: 200.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: THEODORE PARKER/ THE GREAT AMERICAN PREACHER/ BORN AT LEXINGTON MASSACHUSETTS/ UNITED STATES OF AMERICA/ AUGUST 24TH 1810/ DIED AT FLORENCE ITALY/ MAY 10 1860/ HIS NAME IS ENGRAVED IN MARBLE/ HIS VIRTUES IN THE HEARTS OF THOSE HE/ HELPED TO FREE FROM SLAVERY/ AND SUPERSTITION/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Le Reverent Theodore Parker, Lexington /Massachusetts aux Etats-Unis), fils de John Parker et de son épouse Hannah née Stearns/  II: 1859-1865 'Registre des Sepultures avec detail des frais, Paoli 1768/ Q 403: 1103 Paoli/ Hull PacketRegistro alfabetico delle persone tumulate nel Cimitero di Pinti: Parker/ Rev. Teodoro/ Giovanni/ America/ Firenze/ 10 Maggio/ 1860/ Anni 49/ 698/ Freeman, 232-235/ N&Q 75. Theodore Parker, the great American preacher, b. at Lexington, Mass. 24 Aug 1810, ob. 10 May 1860. Belle Arti 1993-1997 scheda. Chiesa Evangelica Riformata Svizzera, 1827-present. See Sally Mitchell, 'Theodore Parker's Graves':  CBVa.html#Mitchell, Elise Madeleine Ciregna, 'Marble Fauns, Angels and Cemeteries,: William Wetmore Story and Friends in Italy', CBVd.html: also Mediatheca 'Fioretta Mazzei' holding, Dean Godzins' biography of Theodore Parker, American HereticAtlantic Monthly, 'Theodore Parker', etc. TAU

William Henry Sewell, son of King William IV/E58:

Tom Sewell. What did you do in the Cold War, Daddy? Tom Sewell, 2006. Tom Sewell, U.K., 2007. Descendant.

E12O/ E58/ 778/
SIR WILLIAM HENRY SEWELL/ ENGLAND
Waterloo Committee: SEWELL, William Henry/ Brevet Major, 16th (Queen's) Light Dragoons; Ensign 60th Foot 1806, Exchanged to 16th Light Dragoons 1806. Lt 1807. Capt 1812. Capt 6oth Foot 1813. Bt Major Mar 1814. Lt Colonel 1817. Colonel 1837. Major General 1846. Lt General 1854./ Served in the Peninsula Aug 1808 - Jan 1809 and Mar 1809 - May 1812. On the Staff of the Portuguese Army May 1812 - Apr 1814. Served throughout the campaign as ADC to Lord Beresford. Present at the Corunna campaign, Talavera, Coa, Agueda, Busaco, Cuidad Rodrigo, Badajoz, San Sebastian, Nivelle, Nive, Orthes, Bayonne and Toulouse. MGS , medal with ten clasps for Corunna, Talavera, Busaco, Cuidad Rodrigo, Badajoz, San Sebastian, Nivelle, Nive, Orthes and Toulouse. CB. Also in Maida and South America, 1807, on the staff of Lord Beresford. Commanded a Portuguese Cavalry regiment 1816. From 1828 - 54 served in India as Deputy Master General, then in command at Bangalore, then divisional commander at Madras and finally Commander-in-Chief of the Madras Army. Returned to England in 1854 and became Colonel of the 79th Cameron Highlanders. Made KCB in 1861. Retired in 1856. Educated at Westminster and Eton, he was W.H. Robertson. On entering the army he took the name of Sewell. Reference: Jameson, Robert. Historical record of the 79th Regiment of Foot, or Cameron Highlanders. 1863'. P. 136. Sewell descendants note he was godson and natural son of King William IV and that Queen Victoria kept him out of the country. Captain Jack Sewell rang the Cemetery's bell in 1945 to see the tombs and took this photograph. I have insisted on preserving this bell intact and in working order, and I have the children burying their parents ring it in order for them to have some control over the chaos at that moment in their lives. In the photograph one can still see the chalice intact on the tomb sculpted by Felicie de Fauveau for E48 SIR CHARLES LYON HERBERT's tomb. One can also see the damage done by a rusting paperclip. Here is part of his letter home to England:
Dearest People, . . . At the moment I'm on leave in Florence & enjoying it a lot. . . I found the General's grave yesterday and his wife's side by side, & took a photo. . . I don't suppose another member of the family will have the opportunity for a long time. What I did decipher was as follows:- 'Beneath this sacred symbol of salvation repose the mortal remains of Gen. Sir. W.H.S., K.E.B., Colonel of 79 Highlanders, who departed this life at Florence 13th March 1862. His wife Georgina Hacking, died on 1 May 1872. His tomb is No 778. The graveyard is in the centre of the Piazza Donatello, in the main boulevard, the Viale Principe Amadeo, Viale Principe Eugenio. It took some time to find the grave once I had looked up the caretaker's book & found his name, as there was no plan . . . The grave is on the right of the central pathway as you go toward the centre of the cemetery, about 5 yards from the path, & almost opposite E.B.B.'s . . . It is closed to the dead now, but the living may enter by pulling on the bell rope at the main gate & waiting till the caretaker or his wife comes to open.
    
                                                  Captain Jack Sewell, 1945

Tomba in forma di croce. Marmista ignoto. Sec. XIX, post 4/1872. Ambito toscano. Tomba in  forma di croce orizzontale. Intervento conservativo sulla pietra serena allievi della Scuola per l'Arte ed il Restauro di Palazzo Spinelli, 2001. Fondi da parte dei discendenti. Intervento conservativo sul ferro Daniel Dumitrescu, 2008. [P.s. A: 34; L: 61; P: 193; RP.s.F: A: 100; L: 234; P: 354.] Iscrizione sepolcrale in inglese incisa in lettere capitali e non, e numeri arabi: Beneath this sacred symbol of salvation repose the mortal remains of/ General Sir William Henry Sewell, C.B., Colonel of 79 Highlanders/ who departed this life at Florence on/ the 13 March 1862// Blessed are the dead which die in the Lord from henceforth/ Yea, saith the Saviour, . . . rest from their Labours And their Works do follow them./ Rev. 14. 13 verse//778/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Sir W.H. Sewell, l'Angleterre, Géneral/ II: 1859-1865 'Registre des Sepultures avec detail des frais, Francs 575/ Records, Guildhall Library, London: GL23777/1 N° 309, Burial 15/03, Rev O'Neill/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Sewell/ Gen. Giuseppe Enrico/ / Inghilterra/ Firenze/ 13 Marzo/ 1862/ Anni 72/ 778/ + / See also James Bansfield (E12O 771), Homan Mulock (E12O 727) tomb entries/ N&Q 358. General Sir Wm. Henry Sewell, K.C.B., Colonel of 79th Highlanders, ob. 13 March, 1862/ Waterloo Committee/°Tom & Jack Sewell. Chiesa Evangelica Riformata Svizzera, 1827-present. See waterloo.html, Mediatheca 'Fioretta Mazzei' holding, TAU

Thomas Southwood Smith/ C3


C20I/ C3/ 761/
THOMAS SOUTHWOOD SMITH
Pastore Luigi Santini tells us that 'he was a well-known medical doctor who promoted public health reforms and good works supported by the Anglo-Florentine community. His tombstone, sculpted by John Hart, inscribed with verses by Leigh Hunt (the terse poet of early English Romanticism), is near that of Theodore Parker, many of whose philosophic ideas he shared'. He was a Unitarian minister and Edinburgh-trained physician, head of the London Fever Hospital, deeply concerned about poor housing and its connection with disease, especially for children working in mines and factories. He was colleague to Jeremy Bentham, enbalming him at his request,  and escorted Lord Normanby and Charles Dickens through London's slums, teaching them about poor housing conditions and their connection to ill health. Associated with Leonard Horner, who was to have been buried in the 'English' Cemetery beside his wife, A15/ ANNE SUSANNA (LLOYD) HORNER, in Sector A, he had B80/ FRANCES (MILTON) TROLLOPE write Michael Armstrong Factory Boy, and B8/ ELIZABETH BARRETT BROWNING write Cry of the Children, both of whom are buried in Sector B. He was Octavia Hill's grandfather and guardian, raising her. She continued his work, introducing housing reform in slums. When we have a Roma with tuberculosis we hold alphabet school here beneath the Column and Cross out in the open, rather than in the Library. We find that Roma in Romania are forced by their poverty to live sometimes 12 to one room or 28 to two rooms, with no windows and with tuberculosis in the family, especially amongst the children, which is now becoming resistant to drugs. To install windows would be cheaper and better than to pay later for hospitals and medicines. This is one among several tombs with a portrait medallion: A64/ GEORGE AUGUSTUS WALLIS by Aristodemos Costoli, A15/ ANNE SUSANNA (LLOYD) HORNER by Francesco Jerace; AB7/ INA BOSS SAULTER, by Ettore Ximenes; B4/ ELENA NIKITICNA DIK, NATA AKZYNOVA by Fyodor Fyodorovitsch Kamensky; C3/ THOMAS SOUTHWOOD SMITH by Joel T. Hart; D108/ THEODORE PARKER by William Wetmore Story; D127/ JAMES ROBERTS, by Joel T. Hart?; E12/ JAMES LORIMER GRAHAM, JR by Launt Thompson; E9/ WALTER KENNEDY LAWRIE by Pietro Bazzanti, F27/ PHILIPPINA (SIMONS) CIAMPI, Joel T. Hart?)

 
      
The University of London's 'auto-icon' of Jeremy Bentham, embalmed at his request by Thomas Southwood Smith, Bentham being the University's founder.

   
Harper's Monthly engraving

Obelisco. Scultore: Joel Tanner Hart: Signature on neck of bust: J.T.HART. Sec. XIX, post 12/1861. Ambito toscano. Obelisco in marmo su basamento in marmo a pianta quadrata e inciso. [M: A: 398; L/P: 105.5.] Iscrizione sepolcrale in lingua inglese incisa in lettere capitali e non, numeri arabi e romani: In Memory of SOUTHWOOD SMITH, Physician/ who through the promotion of sanitary/ reform in the principles of which he was/ the first to discover and through other/ philanthropic and literary labours was/ distinguished as a benefactor of Mankind/ Born at Martock, Somersetshire, England/ Dec 21, 1788, Died at Florence/ Dec 10, 1861// + THEN SHALL THE RIGHTEOUS SHINE FORTH AS THE SUN IN THE KINGDOM/ OF THEIR FATHER/ MATTHEW XII v.43// [Below Joel T. Hart's sculpted portrait medallion] / Ages shall honor, in their hearts enshrined, thee, SOUTHWOOD SMITH, Physician of Mankind/ Bringer of Air, Light, Health into the home/ Of the rich Poor of happier years to come/ Leigh Hunt/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Southwood Smith, l'Angleterre/ II: 1859-1865 'Registre des Sepultures avec detail des frais, Paoli 577 + Francs 31.36/ Q 490: 300 Paoli/ Records, Guildhall Library, London: GL23777/1 N° 301, Rev O'Neill, bronchitis/ Nottinghamshire Guardian, Sheffield and Rotherham Independent, Exminer, Manchester Times, etc./ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Southwood Smith/ M.D./ Tommaso/ Inghilterra/ Firenze/ 10 Dicembre/ 1861/ Anni 73/ 761/ N&Q 9. Southwood Smith, physican, who through promotion of sanitary reform, the principles of which he was the first to discover and through other philanthropic and literary labours, was distinguished as a benefactor of mankind; b. at Martock, Somerset , ob. 10 Dec 1861 at Florence/ DNB/NDNB/ Belle Arti 1993-1997 scheda. Chiesa Evangelica Riformata Svizzera, 1827-present. Mediatheca 'Fioretta Mazzei', spiritage.html has New Spirit of the Age, ed. Hengist Horne and Elizabeth Barrett Browning.

Frances Trollope/B80
Books shelved in DALETH:

Frances Trollope. Domestic Manners of the Americans. Lithographs by Auguste Hervieu. London: The Folio Society, 1974. David R. Gilbert, Maidenhead, 2003.

Frances Trollope. Domestic Manners of the Americans. Stroud: Nonsuch, 2006. Pearl Spedding, Bath, 2010.

Frances Trollope. Jonathan Jefferson Whitlaw. Introduction, Julia Bolton Holloway. The Trollope Society, 2020. The Trollope Society, 2020.

Frances Trollope. Michael Armstrong The Factory Boy. Stroud: Nonsuch, 2007. Judy Fichtenbaum, Concord, 2009.

Frances Trollope. Paris and the Parisians in 1835. Engravings, A. Hervieu. London: Richard Bentley, 1836. 2 vols. Jeffrey Begeal, North Carolina, 2004.

Frances Trollope. Vienna and the Austrians. Paris: Baudry's European Library, 1938. 2 vols. David Gilbert, Maidenhead, 2004.

Frances Trollope. Widow Barnaby. London: C.M. Clarke, n.d. David Middlewood, Northampton, 2010.

Dennis Looney. Freedom Readers: The African-American Reception of Dante Alighieri and the Divine Comedy. Notre Dame: University of Notre Dame Press, 2011. Dennis Looney, Pittsburgh, 2011.

Pamela Neville-Sington. Fanny Trollope: The Life and Adventures of a Clever Woman. Harmondsworth: Penguin, 1997. 2 copies. Pamela Neville-Sington, London, 2000.

Teresa Ransom. Fanny Trollope. Forward, Victoria Glendenning. Stroud: Alan Sutton Publishing, 1995.

B11E/ B80/ 849/
FRANCES (MILTON) TROLLOPE/ ENGLAND
I noted in 'Iron Chain, Gold Ring': 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'. In Cincinatti she had engaged the young B32/ HIRAM POWERS to do Dante's Commedia in wax, starting his career as a sculptor. Pastore Luigi Santini wrote of her presence in Florence: 'She was the matriarch of a clan of writers; herself, two sons and two daughters-in-law. She arrived in Florence with her son Thomas Adolphus in 1843 and took up residence in Piazza Santa Croce, immediately entering into friendly relations with notables of the Court and the British community. In 1849 she moved with her son and daughter-in-law Theodosia Garrow to a little house, Villino Trollope, in Piazza Barbano (now Indipendenza). She dedicated herself to the theatre, organized Anglo-Florentine social life, and wrote prolifically, and her house became a meeting place and obligatory reference point even for such writers as Charles Dickens, Thomas Hardy and Thackeray. Her son's autobiography, What I Remember (London, 1887), is a splendid window on cosmopolitan and cultivated Florence'.

    
Auguste Hervieu                Villino Trollope             

Stele. Marmista ignoto. Sec. XIX, post 10/1863. Ambito toscano. Stele in marmo incisa in lettere capitali in lingua latina e numeri arabi, marmo sporco, posta su basamento in pietra serena, recinto in pietra serena con quattro colonnini spezzati. Intervento di pulitura, Alberto Casciani/ Daniel-Claudiu Dumitrescu, 05/2010.  [M: A: 162. L: 87. P: 51.; P.s. A: 20. L: 96. P: 60; R: A: 38: 198. P: 83.] Iscrizione sepolcrale in latino incisa in lettere capitali e numeri arabi: Iscrizione sepolcrale in latino incisa in lettere capitali e numeri arabi: FRANCESCAE TROLLOPE/ QUOD MORTALE FUIT/ HIC IACET/ . . . / MEMORIA/ NULLUM MARMOR QUAERIT/ APUD STAPLETON/ IN AGRO SOMERSET ANGLORUM/ A.D. 1780 NATA/ FLORENTIAE/ TUMULUM A.D.1863/ NACTA EST/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Françoise Veuve Trolloope, l'Angleterre, fille de Revd. Guillaume Milton, et de Marie, née Gressley, son épouse/ Records, Guildhall Library, London: GL23777/1 N° 337 Burial 08/10 Age 84 Rev Pendleton/ Hampshire Advertiser, Morning Post, relict of Thomas Anthony Trollope, Esq, barrister-at-law/ Maquay Diaries, EBB Letters/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Trolloape [Trollope] nata Milton/ Vedova Francesca/ Guglielmo/ Inghilterra/ Firenze/ 6 Ottobre/ 1863/ Anni 84/ 849/ On the Trollopes in Florence, see Giuliana Artom Treves, Golden Ring, passim/ Thomas Adolphus Trollope writes the Latin of the inscriptions for his mother, his wife, his father-in-law; Thomas Adolphus Trollope, What I Remember, I & II/ N&Q Francisca Trollope, b. at Stapleton, Somt, 1780, ob. 1863. (In Latin.)/ NDNB entries for Trollopes, etc/*=Dennis Looney. Chiesa Evangelica Riformata Svizzera, 1827-present. Nulla osta. See ironchain.html, http://www-florin.ms/gimel CBV.html#Ayres,


Theodosia Trollope/B85:

Olive Baldwin and Thelma Wilson. "Tom Trollope's Mother-in-Law". Trollopiana: The Journal of the Trollope Society 67, October 2004. http://www.florin.ms/garrows.html

B11E/ B85/ 904/ THEODOSIA (GARROW) TROLLOPE/ ENGLAND
When an invalid child in Torquay, she had known Elizabeth Barrett, likewise a young invalid, both with tuberculosis. Pastore Luigi Santini: 'She arrived in Florence in 1845 with her father [B108/ JOSEPH GARROW, who is buried near her tomb], an able violinist, and her mother, who became friendly with their neighbours, the Trollopes, as a result of a visit by their mutual friend Charles Dickens. She married Thomas Adolphus Trollope and moved to the Piazza Barbano in 1848. She was a talented writer with a wonderful mastery of Italian and translated works by Giusti and G.B. Nicolini. A fanatic supporter of the cause of Italian independence, she published a history of the Tuscan Revolution in the Athenaeum'. Thomas Adolphus Trollope, What I Remember, II.150-159, 166-168, & Chapter XVIII, describes her as Florence's new Corinne; pp. 171-173. Theodosia (T. Garrow on the title page) made a translation of Giovanni Batista Niccolini’s, Arnold of Brescia, a tragedy, and this was published in London in 1846, also wrote History of the Tuscan Revolution. Elizabeth Shinner (C71), her maid, is mentioned in Harriet Fisher’s will, made on 10 July 1846.  She wrote: ‘To Eliz.th.  Shinner maid servant the sum of 30£ my gold watch and whatever wearing apparel my sister Theodosia Garrow may not wish to retain’. This half-sister, C77/ HARRIET THEODOSIA FISHER (GARROW), is buried with C71/ ELIZABETH SHINNER, their maid, in Sector C. We witness amongst many of these tombs the great affection and respect their masters and mistresses paid to servants under their roof: CHARLES CROSBIE, A20 to MARY DUVALL, A80; the friends of the late WILLIAM READER, A23 to HENRY AUSTIN, E34; FRANCES (MILTON) TROLLOPE, B80, THEODOSIA (GARROW) TROLLOPE, B85, and HARRIET THEODOSIA FISHER (GARROW), C77, to ELIZABETH SHINNER, C71; ISABELLA BOUILLON LANZONI, D29, to ANNA ROFFY, C61SIR WILLIAM HENRY SEWELL, E58, to JAMES BANSFIELD, E59; Prince Demidoff to GEORGE FREDERIC WAIHINGER, E64; Rosina Buonarotti Simoni to MARY ANNE SALISBURY, F2. B42/ ISABELLA BLAGDEN (in this sector B), cares first for motherless Pen Browning, then for Bice Trollope on the deaths of their mothers from tuberculosis. NDNB entries for Theodosia Trollope, James Archibald Stuart-Wortley, whose grandson married first Theodosia's daughter, Bice, then Millais' daughter, Caroline. See Garrow, Trollope, Shinner, Fisher entries and the Villino Trollope photograph below, on which is placed this plaque. Thomas Adolphus Trollope composes the Latin on his mother's tomb, B80/ FRANCES (MILTON) TROLLOPE, on his wife's father's, B108/ JOSEPH GARROW, and on his wife's, B85/ THEODOSIA (GARROW) TROLLOPE.

  
               
Villino Trollope, Thomas, Fanny,    The day 13 April 1865/ died in this house/ Theodosia Garrovv-Trollope/ 
Bice, Theodosia                                  who wrote in English with an Italian spirit/ of the struggle and the triumph of Liberty

Stele. Marmista ignoto. Sec. XIX, post 42/1865. Ambito toscano. Stele in marmo, marmo inciso in lettere capitali in latino e numeri arabi, marmo sporco, posta su basamento in pietra serena, recinto in pietra serena con quattro colonnini spezzati. Possibile intervento di pulitura. [M: A: 166. L: 86. P: 52.; P.s. A: 20. L: 95. P: 57. R:  A: 47.  L: 191. P: 85.]  Iscrizione sepolcrale in latino incisa in lettere capitali e numeri arabi: THEODOSIAE TROLLOPE/ T. ADOLFI TROLLOPE CONIUGIS/ QUOD MORTALE FUIT/ HIC IACET/ OBITUM EIUS FLEVERUNT OMNES/ QUANTUM AUTEM FIERI MERUIT/ VIR EUGUI SCRIPTORES/ SCIT SOLUS/ JOSEFE GARROW ARMr FILIA/ APUD TORQEY IN AGRORUM DEVON ANGLORUM NATA/ FLORENTIAE NOMEN AGENS LUSTRUM/ AD PLURES DIVINAE . . ./ MENSES APRILES A.D. 1865/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Theodosia Trollope, l'Angleterre/ Records, Guildhall Library, London: GL23777/1 N° 357 Burial 15/04 Age 46 Rev Pendleton; Marriage GL23774 N° 71+170/6 N° 71 03/04/48 Thomas Adolphus Trollope to Theodosia Garrow at HBM (Hamilton) bride d of Joseph Garrow, Devon, Rev Robbins (E101); Baptism of child GL23775 N° 219/40, Beatrice Catherine Harriet 05/05/53, father Thomas Adolphus Esq, mother Theodosia, Rev O'Neill/ Morning Post/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Trolloape [Trollope]/ Teodosia/ [Joseph Garrow]/ Inghilterra/ Firenze/ 12 Aprile/ 1865/ Anni 46/ 904/+/ Thomas Adolphus Trollope, What I Remember, II.150-159, 166-168, Chapter XVIII, pp. 171-173/ N&Q 196. Theodosiae Trollope | T. Adolphi Trollope conjugis | quod mortale fuit | hicjacet. | Obitum ejus fleverunt omnes | quantum autem fieri meruit | vir eheu superstes | scit solus. | Josefi Garrow, Arm. filia | apud Torquay inagro Devon Anglorum nata | Florentiae | nonum agens lustrum | ad plures abiit j 13 die mensis Aprilis, A.D. 1865/ NDNB entries for Theodosia Trollope, James Archibald Stuart-Wortley, whose grandson married first Theodosia's daughter, Bice, then Millais' daughter, Caroline/ See Fisher, Garrow, Trollope, Shinner. Chiesa Evangelica Riformata Svizzera, 1827-present. Nulla osta.


Aldo Pagni/A2F.1:

Aldo Pagni, medico umanista. A c. Annamaria Frullini e Maurizio Mori. Edizioni Health Communication, 2013.

Otto von Parpart/F81:

Hermann von Fischer. Schloss Hünegg, Hilterfingen. Berna, 2022.

Stiftung Schloss Hünegg: Museum für Wohnkultur de 2. Halfte des 19. Jahrhunderts. Jahresbericht 2008.

F4Q/ F81/ 1051/ EMIL OTTO ADOLF ALBERT VON PARPART/ GERMANIA/SVIZZERA
Web yields: 'Albert Emil Otto Von Parpart Rrr Des Joho [247] was born on 22 May 1813 in Wibsch Bei Kulmsee, Westpreussen and died on 24 May 1869 in Florenz at age 56. Albert married Germania Adelaide Mathilde Von Bonstetten [248] [MRIN: 149]. Germania was born in 1813 and died on 20 Jun 1883 in Hönegg, Ch at age 70'. Emil Otto Adolf Albert von Parpart, Knight of Malta, was Prussian, who built a fairy tale castle on a lake in Switzerland. There being no heirs the castle is now owned by the Canton of Berne who graciously paid for the tomb's restoration and cleaning. We should like to plant the rambler 'Asta Von Parpart' rose behind the tomb.

       
H�negg Castle on Lake Thun


    


Croce. Scultore: Giuseppe Bondi Sec. XIX, post 5/1869. Ambito toscano. Croce gotica, lasttra scolpito in rilievo da una croce di Malta, recinto con ferro. 
Pulitura, Daniel-Claudiu Dumitrescu, 2017. [M (cippo con croce gotica): A: 175; L: 77.5; P: 37; P.s. A: 43; L: 82; P: 38.5; M (lastra con croce di Malta): A: 6; L: 78.4; P: 163.8; P.s. A: 19.5; L: 84.1; P: 167.2; RP.s. A: 31; L: 122.8; P: 202; RF: A: 77.L: 122: P: 202.] Iscrizione sepolcrale tedesca incisa in lettere capitali e numeri arabi: DEINE SONNE WIRD/ NICHT MEHR UNTERGEHEN/ NOCH DEIN MOND/ DEN SCHEIN VERLIEREN/ DENN DER HERR WIRD/ DEIN EWIGES LICHT (Isaiah 60.20)  [Croce di Malta in rilievo] HIER RUIT/ ALBERT VON PARPART/ RECHTS RITTER DES JOHANITER ORDENS/ GESTORBEN IN FLORENZ DEN 24 MAI 1869/ IM ALTER VON 56 JAHREN/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Emile Othun Albert de Parpart, Prusse, rentier, fils de Charles de Parpart, et de Henriette, née Porsch/ Registro alfabetico delle tumulazione nel Cimitero di Pinti: Parpart/ Emilio, Ottone, Adolfo, Alberto/ Carlo/ Germania/ Firenze/ 24 Maggio/ 1869/ Anni 56/ 1051/ Belle Arti scheda, 1993-1997. Intervento di pulitura e restauro, del marmo e del ferro, Alberto Casciani, Mauro Romagnoli, 2010. Intervento di pulitura e conservazione del marmo e del ferro, lettere depinte, Daniel-Claudiu Dumitrescu, 2012..Intervento di pulitura e restauro delle lettere, Dumitrescu, 2017.  Chiesa Evangelica Riformata Svizzera, 1827-present.

Gabriel Venturi Ginori Lisci y Borbon/F9N.2:

Gabriel Venturi Ginori Lisci y Borbon. Le emozioni . . . le poesie di Gabriel. Firenze: Edifir, 2017.

Waterloo and Peninsula Participants: James Hughes, Edward Porteus, Sir Henry Sewell, etc./E:
http://www.florin.ms/waterloo.html

David Howarth. Waterloo: The Official Guide of the Waterloo Committee. Forward, Duke of Wellington. London: Pitkin, 1980.

Eric Hunt. Charging Against Napoleon.: Diaries and Letters of Three Hussars. Yorkshire: Leo Cooper, 2001. Gift of Dickon Fetherstonehaugh of Kinmel, 2018.

Bentink Walter Yelverton/B2:

Michael Ayrton. "Ensign Yelverton's Spoon" The Bulletin of the Military Historical Society 56, November 2005. http://www.florin.ms/yelvertons.html

B11GH/ B2/ 165/
WALTER BENTINCK YELVERTON/ IRELAND/ & ANNA MARIA (BINGHAM) YELVERTON/ IRELAND/
Bentinck Walter, at nine, Frederick and two girls, Mary and Cecilia, were left orphans by the death of their mother. Their father, Walter Yelverton, had now left politics and was cursitor in the Court of Chancery in Ireland. In 1808, 17-year-old Bentinck was admitted to Trinity College Dublin as a Fellow Commoner. He attained a Bachelor of Arts in the summer of 1814. He subsequently secured a commission in the 6th (or 1st Warwickshire) Regiment of Foot but narrowly missed service in the Napoleonic Wars. He was with the regiment in Cape Town when word arrived that his father had died in Ireland in June 1824. Bentinck Walter Yelverton duly succeeded to Belle Isle but his attempts to manage his father's affairs and to look after his two unmarried sisters earned him an unfortunate blot in his copy book when the Adjutant's Roll noted he had been 'Absent without Leave from 31 March 1826'. We have an enchanting essay on his regimental spoon contributed by Michael Ayrton: yelvertons.html. He subsequently retired on half-pay. In June 1829, he married his cousin, the Hon. Anna Maria Bingham, eldest daughter of John Bingham, 1st Baron Clanmorris of Newbrook, County Mayo. Their daughter Anna Maria Cecilia was born in 1833. Bentinck died in Florence in 1837, aged forty-five, and was interred in the Swiss-owned 'English' Cemetery. His daughter died in Nice aged just 13 in 1846 (B3).

 
    
                                                                                                                                       Crest, Lion passant regardant

        The 1870s Harper's Monthly shows this Yelverton tomb and seems to place the urn for Zaida Ffrench on top of it.

Sarcofago.
Scultore: Pietro Bazzanti, Firma: P.BAZZANTI.F Sec. XIX, post 12/1837. Ambito toscano. Sarcofago in marmo scolpito con papaveri, poggiante su basamento in marmo scolpito con stemma (la corona è spezzata), crisalide, pellicano con la sua pietà nell'atto di squarciarsi il petto, molto sporco, intervento di pulitura, Scuola per l'Arte ed il Restauro di Palazzo Spinelli, 2006, a sua volta posto su basamento in pietra serena, recinto in pietra serena. Possibile intervento di pulitura. [M: A: 190. L: 204. P: 105; P.s. A: L: P: [Il recinto racchiude anche le tombe di Zaida Ffrench, Cecilia Yelverton.] Iscrizione sepolcrale in lingua inglese incisa in lettere capitali: IN AFFECTIONATE MEMORY OF/ BENTINK YELVERTON/ AND HIS WIFE/ THE HON.BLE ANNA BINGHAM/ Marriage recorded FO79/57 15/09/32, Rev Frederick Yelverton to Catherine Louisa Bingham at HBM, Yelverton brothers marrying Bingham sisters]/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Yelverton/ Bertick/ / Inghilterra/ Pisa/ 13 Dicembre/ 1837/ / 165/ See FFrench/ N&Q 193. Bentink Yelverton and his w., the Hon. Anna Bingham. No date or other inscription/ Belle Arti 1993-1997 scheda. Chiesa Evangelica Riformata Svizzera, 1827-present.


Baron Paul de la Villestreux/F28:

Catalogues des livres rares e précieux de la Bibliothèque de feu M. le baron P. de la Villestreux. Paris: L. Potier, 1872.

F2S/ F123/ 1146/ BARON PAUL DE LA VILLESTREUX/ FRANCE
He is a French diplomat present at the Court of Tuscany and a noted bibliophile, at his death a catalogue being published of his books, including Elzevirs, in his extensive library. We recall Elizabeth Barrett Browning speaking in Aurora Leigh of  such a library with Elzevirs.



Lastra.
Marmista ignoto. Sec. XIX, post 9/1871. Ambito toscano. Lastra di marmo bianco, ora sporco, su base di pietra. [M: A: 2; L: 58.5; P: 108.5; P.s. A: 16; L: 70; P: 120.5.] Iscrizione sepolcrale inglese incisa in lettere capitali e numeri arabi: ICI REPOSE LE BARON/ PAUL DE LA VILLESTREUX/ CHARGE D'AFFAIRES DE FRANCE/ EN ITALIE, OFFICIER DE LA LEGION D'HONNEUR/ DECEDE A FLORENCE LE 20 SETTEMBRE 1871/ Eglise Evangelique-Reformée de Florence Régistre des Morts: la Baron Paul de la Villestreux, France, Chargé d'affaire à la legation Fr/ Registro alfabetico delle tumulazione nel Cimitero di Pinti: Villestreux (de la)/ Paolo/ Carlo/ Francia/ Firenze/ 20 Settembre/ 1871/ Anni 43/ 1146. Chiesa Evangelica Riformata Svizzera, 1827-present.

See Mediatheca 'Fioretta Mazzei' holdings,
TAU.
 
Christopher Webb Smith/A61:

Christopher Webb Smith: An Artist at the Cape of Good Hope, 1847-1849. Cape Town: Howard Timmins, 1965. Gift of Gordon Richings, 2006.*

A6I/ A13/ 801/ ANNIE JESSIE (MACKENZIE) SMITH/ SCOTLAND
Christopher Webb Smith and his wife, Annie Jessie MacKenzie Smith, who pre-deceased him, share a most beautiful sarcophagus, sculpted by Pietro Bazzanti, mirrored in that for Sophia Tennant (D18) in Sector D, both of which have been cleaned by Daniel-Claudiu Dumitrescu. Following Webb Smith's Civil Service in Bengal he also visited South Africa, publishing a book with his paintings of its culture and its wild life, now in our library as a gift from a member. In his retirement in Florence he served loyally with the Anglican Holy Trinity Church. Wikipedia adds that 'From 1849 to 1860 Smith worked on a critique of the 300 paintings in Florence's Pitti Gallery. The entire work was lost with the sinking of the steamer Black Prince off the coast of Portugal'. See Webbs, Anglo-Florentines, pp. 117, 147, 229, 289, 309, 369, 374, 495, 514, 516.

  
Sarcofago.
Scultore: Pietro Bazzanti, riprende la tomba di Tennant, Sector D (
D22M 610). Sec. XIX, post 9/1862. Ambito toscano. Sarcofago in marmo con disegni e stemma. Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2010;
Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2018. [M: A: 144; L: 179.5; P: 88.5; P.s.: A: 21; L: 183.5; P: 94; RP.s.F: A: 91; L/P 228.] Iscrizione sepolcrale in inglese in lettere capitali e numeri arabi, incisa: SACRED TO THE MEMORY OF ANNIE JESSIE FOURTH DAUGHTER/ OF CAPT DONALD MACKENZIE OF HARTFIELDS ROSSHIRE AND WIFE/ OF CHRISTOPHER WEBB SMITH ESQ OF THE BENGAL CIVIL SERVICE/ [Below Casket] THIS MONUMENT IS ERECTED BY THE SORROWING HUSBAND TO THE MEMORY OF THE FAITHFUL AND MOST AFFECTIONATE COMPANION AND PARTNER IN HIS EVERY JOY AND SORROW/ DURING A PERIOD OF XXXV YEARS. TO THE MEMORY OF THE CHRISTIAN WIFE AND MOTHER, THE KIND FRIEND OF ALL AROUND HER AND ESPECIALLY OF THE POOR AND DISTRESSED./ TO THE MEMORY OF HER WHO IN HER LAST AND PROTRACTED ILLNESS WAS AN EMINENT EXAMPLE OF THE POWER OF HOLY RELIGION./ IN THE TRIUMPH OF FAITH HOPE AND PATIENCE UNTIL WELCOMING DEATH AS THE PORTAL TO GLORY SHE FELL ASLEEP IN JESUS./ WRITE "BLESSED ARE THE DEAD WHICH DIE IN THE LORD" REV. XIV.13/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Anna Smith, l'Angleterre, Ecosse/ Records, Guildhall Library, London: GL23777/1 N° 316 Burial 05/09 Rev Ponton, 'inward complaint'/ Registro alfabetico delle tumulazioni nel Cimitero di Pinti: Smith nata Mackenzie/ Anna/ / Inghilterra/ Firenze/ 1 Settembre/ 1862/ Anni 56/ 801/ Tassinari/ Santini/ [Stemma]/A14/ CHRISTOPHER WEBB SMITH/ ENGLAND/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Christophe Smith, Esquire, l'Angleterre, rentier, fils de Henri/ IV: 1871-1875 'Registre des Sepultures' avec detail des frais, Francs 391, A/ FO 79 passim/ Records, Guildhall Library, London: GL23777/1 N° 427 Burial 21/01, age 77, Rev Tottenham, Casa Buggiani, via Cavour, 64/ Registro alfabetico delle tumulazioni nel Cimitero di Pinti: Smith/ Cristofero/ Enrico/ Inghilterra/ Firenze/ 18 Gennaio/ 1871/ Anni 77/ 1115/ Mural Tablet, Holy Trinity Church, TO THE MEMORY OF A BRIGHT EXEMPLAR OF CONSISTENT PIETY CHRISTOPHER WEBB SMITH ESQRE LATE OF THE BENGAL CIVIL SERVICE BORN 1793 DIED 1871. FOR MANY YEARS SECRETARY OF THE VESTRY OF THIS CHURCH TO WHOSE WELFARE HIS BEST ENERGIES WERE DEVOTED, THIS TABLET IN ACCORDANCE WITH A UNANIMOUS VOTE OF A PUBLIC MEETING HELD JANUARY 27, 1871 HBM'S MINISTER PLENIPOTENTIARY IN THE CHAIR, HAS BEEN PUT UP BY MEANS OF A VOLUNTARY SUBSCRIPTION AMONG HIS FRIENDS AND ADMIRERS HERE AND IN ENGLAND IN TOKEN OF THEIR WARM APPRECIATION OF HIS LABOURS AND HIS MANY AMIABLE AND STERLING QUALITIES AS A CHRISTIAN AND A GENTLEMAN. "WELL DONE, GOOD AND FAITHFUL SERVANT, ENTER THOU INTO THE JOY OF THE LORD." MATT. 25-23/ Tassinari speaks of his longevity, resident in Florence nearly 30 years/ N&Q 134. Christopher Webb Smith, b. at Camberwell, 13 May 1794, ob. 18 Jan 1871. Anne Jessie, 4th d. of Capt. Donald Mackenzie, of Hartfield, Rosshirew. of C.W. Smith, of the Bengal Civil Service. Intervento di pulitura, Alberto Casciani/ Daniel-Claudiu Dumitrescu, 5/2010. Pulitura, Dumitrescu, 2018. Chiesa Evangelica Riformata Svizzera, 1827-present.

Research Reference Works:

Retto R. Bezzola. Litteratura daks Rumauntschs e Ladins. Cuira: Edizion da la Lia Rumauntscha, 1979.  [Bible in Rumantsch in LIBALEPH]

Le Case della Memoria italiane e ungharesi: Una risorsa condivisa della cultura. 2013.

Georg Freiherr von Frolichsthal. Der Adel der Habsburgermonarchie im 19. und 20, Jahrhundert. Index zu seinen Genealogien. Insingen: Verlad Bauer & Raspe, 2008.

Cess Nooteboom. Tumbas: Tombe di Poeti e Pensatori. Milano: Iperborea, 2015. Gift, Irene Maeder.

Fabrizio Di Montauto. Manuale di Araldica. Firenze: Polistampa, 1999.

Armando Petrucci. Le Scritture Ultime. Turino: Einaudi, 1995.

Nicola J. Watson. The Literary Tourist. Basingstoke: Palgrave, 2008.

Gardens and Gardening

I giaggioli:

Benedetta Alphandery. Iris, il profumo dei fiori. Milano: Idea Books, 1998.

Giordano Martini & Daniele Viciani. "What happened to Linnaeus' Iris fiorentina? Re-examination of this taxon at species level". Taxon April 2018.

Alessandro Perugi. Album d'emozioni 3: Firenze Culla e Paladina di Creatività. Firenze: Il Valico Editore, 2018.

Alessandro Perugi. L'Iris di Firenze; fiore e stemma della Città: Una lettura botanico del Giglio Fiorentino. Presentazione di Eugenio Giani. Firenze: Il Valico Edizioni, 2016.

Alessandro Perugi. Iris Fiore Tepaloso. Firenze: Il Valico Edizioni, 2016.

Società Italiana dell'Iris. Le iris: Indicazione per uno studio.

Venzano, piante aromatiche, fiori profumati. Volterra: D.G. Leevers, n.d. American League, Firenze, 2002.

Tom Waters. "Fertilizing Irises"

Il Giardino del Cimitero e il Giardino Torrigiani, ecc.

Cosimo Bargellini e Leonardo Castellucci. Firenze: giardini per sognare. Firenze: I Cipressi, 1990. 2 copie.

Gabriella Carapelli e Marta Donati. Pietro Porcinai (1910-1986): Paesaggi moderni a Firenze. Pisa: Pacini, 2013. Marta Donati.

Richard Deakin, M.D. Flora of the Colosseum of Rome. London: Groombridge, 1873. Horace Gibson, Syracuse University Library, 2005,

Giardini di Toscana.
Firenze: Edifir, 2004.

Guida per il Giardino del Marchese Torrigiani in Firenze
. Poligrafia Fiesolana, 1824.

Lucia Impelluso. Giardini, orti e labirinti. Milano: Mondadori, 2003.

Paola Maresca. Giardini incantati, boschi sacri e architetture magiche. Firenze: Angelo Pontecorboli Editore, 2004.

Tiziana Grifoni. L'eclettismo nell'opera di Pietro Porcinai. Firenze: Polistampa, 2006. Anna Porcinai.

Claudio Paolino. Il sistema del verde, Il viale dei colli e la Firenze di Giuseppe Poggi nell'Europa dell'Ottocento. Firenze: Polistampa, 2004.

Università degli studi di Milano "La Statale". L'Archeologia in Verde. Mito e Natura dalla Grecia a Pompei. Vol. 1. Sesto Fiorentino: All'Insegna del Giglio, 2016.

Università degli studi di Milano "La Statale". Gli Dei in Giardino. Mito e Natura dalla Grecia a Pompei. Vol. 2. Sesto Fiorentino: All'Insegna del Giglio, 2016.

I Giardini di Toscana, ecc:

Gli alberi di Campi Bisenzio. Comune di Campo Bisenzio, 2004.

Gli alberi di "Prato Giardino". Viterbo, 2014.Kate Campbell. Paradise of Exiles: the Anglo-American Gardens of Florence. London: Frances Lincoln, 2009. Kate Campbell.

Giovanni Bettini. Bomarzo: Parco dei Mostri. Terni, 1991.

Piero Camporesi. Le belle contrade: Nascita del paesaggio italiano. Garzanti, 1992.

Caterina Caneva. Il Giardino di Boboli. Firenze: Becocci, 1982.

Gabrielle Capecchi. Il Giardino di Boboli; Un anfiteatro per la gioia dei granduchi. Firenze: Edizioni Medicea, 1993.

Nico Colacillo. Guida botanica al Parco del Museo Stibbert. Firenze: Comune di Firenze, 2002.

Carlo del Prete e Giuseppe Tosi. Flora e Vegetazione dei litorali sabbiosi della Maremma. Comune di Grosseto, n.d.

Giardini: L'arte del vrde attraverso i secoli. Firenze: Giunti, 2005. Lynn Otten, 2014.

Giardini in Toscana. Firenze: Pagliai Polistampa, 2005. Mariella Zoppi, 2005.*

Il Giardino Bardini. Fondazione Parchi Monumentali Bardini e Peyron. CD. Lapo Mazzei, 2003.

Il Giardino del Bosco di Fonte Lucente, Villa Peyron, Fiesole. Lapo Mazzei, 2003.

Guida ai grandi giardini italiani. 2004.

La Pietra. New York University of Florence. International Conference and Events Center.

La villa medicea di Careggo e il suo giardino: storia, rilievi, analisi per il restauro.
A c. Luigi Zangheri. Firenze: Regione Toscana, 2007.*

I Maestri. Su le orme della cultura forestale.
Accademia italiana di scienze forestali, 2002,

Museo della Natura Morta: Villa Medicea di Poggio a Caiano. Guida breve. Livorno: Sillabe, 2007.

Parco Mediceo di Pratolino: Villa Demidoff. Una storia per immagini. A c. Massimo Becattini. Firenze: Polistampa, 2005.

Maria Chiara Pozzana. Firenze: giardini di Città. Acquerelle e disegni Mauro Falzoni. Firenze: FMG Studio Immagini, 1994.

Inez Romitti. Il Bosco di Fonte Lucente: Il racconto del giardino e della villa di Paolo Peyron. Firenze: Polistampa, 1997. Ines Romitti, 2003.

Lo Spirito Italiano. Four Seasons Hotels. [Villa e Giardino Gherardesca]

Toscana Esclusiva: Firenze, Lucca, Pisa, Siena, cortile e giardini aperti. 2006 La Nazione, 2006.

Tuscany's Villas and Gardens. Milano: Touring Club Italiano, 2003.

Wilma Vigilanti e Piero Caneti, Piante e Fiori di Maremma. Viterbo: Maremma e dintorni, 1985.

Zadarsky vrtovi i perivojo/ The Parks and Gardens of Zadar. Zadar: Izdavac Publisher, n.d.

The Therapy of Gardens and Confraternities:

L'Antico Orto dell'Ospedale di Santa Maria Nuova:

Rinasce il più antico orto medico del mondo.

The World's Oldest Medical Garden is Blooming Once More. 2 copies

Giovanna Cellai Ciuffe and Fernando Fabbbri. Guide to the "Giardino dei Semplici". Florence: The Botanical Garden of the University of Florence, 1993. Biaca Maria Quadri.

Luciano Artusi e Antonio Patruno. Deo Gratias: Storia, tradizioni, culti e personaggi delle antiche confraternite fioretinte. Roma: Newton Compton, 1994.

Sir Thomas Browne. The Religio Medici and Other Writings. London: Dent, n.d. Kevin Faulkner, Norwich, 2001.

Tommaso Browne. Religio Medici e Hydriotaphia.  Trad. Raffaello Piccoli. Firenze: Rinascimento del Libro, n.d.

Christoforo Guglielmo Hufeland. Enchiridion Medicum o indirizzamento alla Pratica delle Medicina. Trad. Dott. G. Almanni. Firenze: Sansone Coen, 1844.

La Misericordia di Firenze: Memorie, curiosità, tradizioni. A c. Foresto Nicolai. 1984

La Misericordia di Firenze. Le feste di San Sebastiano. A c. Foresto Nicolai. Firenze: All'Insegna del Giglio, 2008.

La Misericordia di Firenze. Archivio e arredi. 1982.

La Misericordia di Firenze. Cimiteri monumentali. San Sebastiano, 1983.

Giannozzo Pucci. La rigenerazione del bene comune. Firenze: LEF, 2021. Giannozzo Pucci, 2021.

Santa Maria Nuova attraverso i secoli. A c. Giancarlo Landini. Firenze: Polistampa, 2019

Sarah Parker Remond and G.A. Brambilla.

Segreti e virtù delle piante medicinali. Milano, Reader's Digest, 1981.

Victoria Sweet. God's Hotel. A Doctor, a Hospital, and a Pilgrimage to the Heart of Medicine. New York: Riverside Books, 2012. Alexandra Johnson, Boston, 2013.

Agriculture and Botany:

Marco Marro. Climatolgia e Agrologia. Roma: Paravia, 1909.

Marco Marro. Coltivazione delle piante erbacee. Roma: Tipografia Romana, 1909.

Francesco Bianchini. Flora alpina. Milano: Mondadori, 1967. Giorgio Nencetti, Montebeni, 2005.

J. Bretaudeau. Alberi. Milano: Mondadori, 1967. Georgio Nencetti, Montebeni, 2005.

Conosci Italia. La Flora. Milano: Touring Club Italiana, 1958.

Enciclopedia Pratica. Il Grande Libro dei Fiori e delle Piante. Milano: Reader's Digest, 1974. Elisa Dapples, 2009.

Luigi Fenaroli. Gli alberi d'Italia. Milano: Aldo Martello Editore, 1967. Giorgio Nencetti, Montebeni, 2005.

Luigi Fenaroli.  Flora mediterranea. Milano: Aldo Martello Editore, 1974. 3 vols. Giorgio Nencetti: Montebeni, 2005.

Paula Kolhaupt. Piccola Flora delle Dolomiti. Bolzano: Casa Editrice Athesia, 1984.

Roma Melinori. Fiori spontanei. Milano: Aldo Martello Editore, 1966. Giorgio Nencetti, Montebeni, 2005.

Zoology:

Führer durch den Zoologifsher Garten zu Köln. Gerardo Kraft.

Marco Lambertini. Il Birdwatching per tutti. Roma: Gremese Editore, 1966.

Gli ucelli: Atlante illutrato. Milano: Teti Editore, 1974.

Gustavo Milani. Scienze Naturali. Roma: Paravia, n.d. Marco Panti, 2005.

Conosci Italia. La Fauna.  Milano: Touring Club Italiano, 1959.

Gardens and Gardening Elsewhere:

Reginald Arkell. More Green Fingers: Another Present for a Good Gardener. London: Herbert Jenkins, 1944.

Marjorie Blamey. Flowers of the Countryside. Autographed. London: Collins, 1989, Umberto Caldelli, Antella, 2006.

Findhorn Community. The Findhorn Garden: Pioneering a New Vision of Humanity and Nature in Cooperation. Findhorn Trust, 1968.

Maureen Foster. The Art of Preserved Flower Arrangements. London: Collins, 1985. American League, 2002.

Historic Gardens Review 12. 2003.

Walter J.C. Murray. A Sanctuary Planted. London: Phoenix House, 1953. Lisa Morelli Adimari.

John O'Donohue. Walking on the Pastures of Wonder. Dublin: Veritas, 2015.

Tommy Cairns. Ortho's All About Roses. Des Moines: Meredith Books, 1999. 

Victor Perard. Drawing Flowers. New York: Grosset and Dunlap, 1854. American League, 2007.

Laure Peroni. Glorious Flowers. New York: Arch Cape Press, 1984. Colin Bond, Australia.*

Roger Phillips. Wild Flowers of Britain. London: Pan Books, 1977.

Sandra Raphael. "John Evelyn's Elysium Britannicum". Hazel Pigott, Montreal, 2004.

Vita Sackville-West. Case di Campagna inglesi. Firenze: Passigli Editori, n.d. Jennifer Waite.

Vegetable Gardening. Menlo Parl: Sunset, n.d.

See also:

 

LA CITTA` E IL LIBRO III
ELOQUENZA SILENZIOSA:
VOCI DEL RICORDO INCISE NEL
CIMITERO 'DEGLI INGLESI',
CONVEGNO INTERNAZIONALE
3-5 GIUGNO 2004

THE CITY AND THE BOOK III
INTERNATIONAL CONFERENCE
'MARBLE SILENCE, WORDS ON STONE:
FLORENCE'S' ENGLISH CEMETERY',
GABINETTO VIEUSSEUX AND
'ENGLISH CEMETERY', FLORENCE
3-4 JUNE 2004

Gli Atti sono pubblicati in due lingue, italiano e inglese ('testo a fronte'), ai seguenti indirizzi: http://www.florin.ms/gimela.html, /gimelb.html, /gimelc.html, /gimeld.html, /gimele.html, /gimelf.html. Gli Atti sono pubblicati all'indirizzo http://www.florin.ms/gimel1, gimel2.html_soltanto in lingua italiana. Per i testi in lingua originale utilizziamo i caratteri neri, per la traduzione il colore usato è il grigio.

The Proceedings in both Italian and English (parallel text) are provided here:  http://www.florin.ms/gimela.html, /gimelb.html, /gimelc.html, /gimeld.html, /gimele.html, /gimelf.html. The Proceedings are published at http://www.florin.ms/gimel1, gimel2.html in Italian only. The text in the original language is in black, the translation, in grey.

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INTRODUZIONE/ INTRODUCTION

L’internazionalità di Firenze: il ricordo di Vieusseux nel Cimitero detto ‘degli Inglesi’/ Cosmopolitan Florence: Vieusseux's Memorial in the ‘English' Cemetery Maurizio Bossi, Gabinetto G.P. Vieusseux, Firenze [questa relazione è disponibile soltanto in lingua italiana all'indirizzo http://www.florin.ms/gimel1#bossi]

'Tuoni di bianco silenzio': Il Cimitero ‘degli Inglesi’ come biblioteca e come archivio/ 'Thunders of White Silence': The ‘English Cemetery’ as Library, as Archive Julia Bolton Holloway, Aureo Anello Associazione Biblioteca e Bottega Fioretta Mazzei e Amici del Cimitero 'degli Inglesi' [questa relazione è disponibile soltanto in lingua italiana all'indirizzo http://www.florin.ms/gimel1#holloway]

I CIMITERI DI FIRENZE E LA TRASMISSIONE DEL RICORDO NELL’OTTOCENTO/ THE TRADITION OF MEMORY IN NINETEENTH-CENTURY FLORENCE

Il bello sepolcrale/ The aesthetic of tombs, Carlo Sisi, Galleria d'Arte moderna di Palazzo Pitti, Firenze || Vivere con la morte: iscrizioni funebri e monumenti in Toscana/ Living with Death: Tuscan Entombments in the Nineteenth-Century, Anne O’Brien, National University of Ireland, Galway || La letteratura del ricordo/ The Literature of Memory, Laura Melosi, Università di Macerata || Memoria come benedizione: il Cimitero Ebraico a Firenze/ Memory as Blessing: Florence’s Jewish Cemetery, Dora Liscia Bemporad, Università di Firenze|| Architetture dei cimiteri 'degli Inglesi' e 'agli Allori'/ Architecture of the 'English' and 'Agli Allori' Cemeteries, Giampaolo Trotta

Le relazioni sopra sono disponibili soltanto in lingua italiana all'indirizzo http://www.florin.ms/gimel1.html#sisi, #obrien, #melosi, #liscia, #trotta

Ore 15.30/ 3:30 p.m.

I ‘FIORENTINI’ INGLESI E AMERICANI/ ENGLISH AND AMERICAN ‘FLORENTINES’

La tentazione di Eva: 'Paradise Lost' nella scultura di Hiram Powers/ Eve Tempted: 'Paradise Lost' in Hiram Powers' sculpture Katerine Gaja, The British Institute of Florence ||L’iscrizione sulla tomba di Walter Savage Landor/ The inscription on Walter Savage Landor's Tomb Mark Roberts, The British Institute of Florence ||La vedova di Arnold Savage Landor: Libri, corpi e l'incisione di memoria in Firenze/ Arnold Savage Landor’s Widow: Books, Bodies and Imprinting Memory in Florence Allison Levy, Wheaton College||Fanny Trollope, la sua famiglia e la cerchia del Villino Trollope/ Fanny Trollope, her Family and Circle at the Villino Trollope David R. Gilbert, The Middle Temple, London ||Elizabeth Barrett Browning e la Bibbia/ Elizabeth Barrett Browning and the Bible Stephen Prickett, The Armstrong Browning Library, Baylor University ||La pietra e la parola: Elizabeth Barrett Browning a Firenze/ Stone and Word: Elizabeth Barrett Browning in Florence Claudia Vitale [disponibile soltanto in lingua italiana all'indirizzo http://www.florin.ms/gimel1#vitale]
 

CENA presso il CIMITERO 'DEGLI INGLESI', Piazzale Donatello, 38/ DINNER in the 'ENGLISH' CEMETERY, Piazzale Donatello 38

Ringraziamo
AGENZIA PER IL TURISMO FIRENZE

Venerdì 4 giugno 2004/ Friday 4 June 2004/ Ore 9.30/ 9:30 a.m.

Una tomba dal nome svanito: Isa Blagden/ A Faded Inscription: Isa Blagden’s Tomb Corinna Gestri, La Nara di Prato [disponibile soltanto in lingua italiana all'indirizzo http://www.florin.ms/gimel1.html#gestri]||Clough, Horner, Zileri: tombe ricordate in un diario inglese inedito/ Tombs Linked in an Unpublished Diary Alyson Price, The British Institute of Florence||William Holman Hunt per la moglie giovane Fanny/ William Holman Hunt for His Young Wife Fanny Patricia O’Connor, The Pre-Raphaelite Society ||L'arte della memoria: John Roddam Spencer Stanhope e la tomba della figlia Mary/ The Art of Memory: John Roddam Spencer Stanhope and the Tomb of His Daughter Mary Nic Peeters, Vrije Universiteit Brussel– Judy Oberhausen, San Mateo, California||Notti bianche d'Islanda a Firenze: William Morris e Daniel Willard Fiske/ Northern Lights in Florence: William Morris and Daniel William Fiske Kristín Bragadóttir, The National Library, Reykjavik ||Marmo bianco: la vita e le lettere di Hiram Powers, un inedito di Clara Louise Dentler/ White Marble: The Life and Letters of Hiram Powers in Clara Louise’s Dentler’s Manuscript Jeffrey Begeal, The International Baccalaureate Organization

Ore 14.45/ 2:45 p.m. VISITA A CASA GUIDI/VISIT TO CASA GUIDI

Ore 15.30/ 3:30 p.m.

ALLA RICERCA DI ‘FIORENTINI’ DI ALTRE CULTURE NEL CIMITERO ‘DEGLI INGLESI'/ OTHER 'FLORENTINES' IN THE 'ENGLISH' CEMETERY

Religione, nazione, affari: Il patrimonio della memoria nella comunità svizzera di Firenze/ Religion, Nation, Commerce: Memory as Heritage Among the Swiss in Florence Alessandro Volpi, Università di Pisa || 'Sotto i mirti della dolce Italia': I russi/ 'Beneath the myrtles of sweet Italy': The Russians Michail Talalay, Russian Academy of Sciences || Da Mosca a Firenze: i Kudrjavcev e l’Italia/ From Moscow to Florence: The Kudriavcev and Italy Lucia Tonini, Università 'l'Orientale', Napoli || Le ragioni di una assenza, i motivi di una presenza: Polacchi e Ungheresi nel Cimitero 'degli Inglesi'/ Reasons for absence, motives for their presence: Poles and Hungarians in the 'English Cemetery' Luca Bernardini, Università di Milano || Gli Europei del Nord: dall'Olanda, dalla Scandinavia e dai Paesi baltici/ Northern Europeans: Holland, Scandinavia and the Baltic Countries Asker Pelgrom, Rijkuniversiteit Groningen, Olanda || Due sepolture al Cimitero ‘degli Inglesi’: una traccia per l’attività fiorentina di Félicie de Fauveau/ Two Tombs in the ‘English’ Cemetery: Vestiges of Felicie de Fauveau’s work in Florence Silvia Mascalchi, Istituto Statale d'Arte di Firenze || Robert Davidsohn, un autore della memoria storica di Firenze/ Robert Davidsohn, Historian of Medieval Florence Giuliano Pinto, Università di Firenze.
Le relazioni sopra sono disponibili soltanto in lingua italiana all'indirizzo  http://www.florin.ms/gimel2.html#volpi, #talalay, #tonini, #bernardini, #mascalchi

Appendix:Poets' Epitaphs in the 'English' Cemetery

SABATO, 5 GIUGNO/ SATURDAY, JUNE 5

VISITA A VILLA LANDOR, FIESOLE, AL CASTELLO DI VINCIGLIATA, AL MONASTERO DI VALLOMBROSA, A BELLOSGUARDO, VILLA BRICHIERI-COLOMBI, VILLA LO STROZZINO

VISIT TO VILLA LANDOR, FIESOLE, VINCIGLIATA CASTLE, VALLOMBROSA MONASTERY, BELLOSGUARDO'S VILLA BRICHIERI-COLOMBI AND VILLA LO STROZZINO
 

TEMPO/ SPAZIO/ BIBLIOGRAFIA //TIME/ SPACE/ BIBLIOGRAPHY

See also:
       
        'Thunders of White Silence': Florence's English Cemetery, http://www.florin.ms/cemetery.html

Catalogue of Tombs:

English Cemetery Register A-C, http://www.florin.ms/cemetery1.html
English Cemetery Register D-L, http://www.florin.ms/cemetery2.html
English Cemetery Register M-R, http://www.florin.ms/cemetery3.html
English Cemetery Register S-Z, http://www.florin.ms/cemetery4.html

 


Library Catalogue: TAU, Biblioteca e Bottega Fioretta Mazzei, "English" Cemetery, Florence, Italy

ALEPH=Bible Commentaries/ Hebraism, Islam/ Alphabet, Babylonian/Egyptian, Hebrew Bible, Greek Testament, Bible, Early Christianity, Desert Fathers, Greek/Russian Orthodoxy, Latin Christianity, Celtic Christianity, Anglo-Saxon Christianity, Hagiography, Medieval, Renaissance Bible, Women in Christianity, Liturgy/Cathechism/Magisterium, Church Today, Modern Contemplative Theology, Modern Hagiography/Biography, Comparative Religions, Children
BETH
=Monastic Orders: Benedictine, Brigittine, Carmelite, Carthusian, Dominican, Franciscan/ Clarissan, Newer Orders, Modern Communities, Anglican || Medieval Studies, Women in Middle Ages, Beguine, Anchoress, Hermit, Julian of Norwich, Oblates of Santa Francesca Romana, Pilgrimage, Lollard, Quaker, etc.
GIMEL
=Modern Languages: French,Spanish || Russian, Portuguese, German, Dictionaries || Grammars, Handbooks on Style || Florence's Political Theologians: Don Giulio Facibeni, Giorgio La Pira, Fioretta Mazzei, Pietro Parigi, Don Lorenzo Milani, Giannozzo Pucci, Amicizia Ebraico-Cristiana, Roma || MLA International Bibliography
PE
=
Classics, Greek, Latin, Medieval Latin, Provençal; Italian Literature, Brunetto Latino, Dante Alighieri; Italian History, Italian Travel; Italian Art.
DALETH
=Icelandic and British Literature: Icelandic, Old English, Welsh, Arthurian, Anglo-Norman, Middle English, Drama, Chaucer, Langland, Pearl, Renaissance, Seventeenth Century, Eighteenth Century, Blake,
Nineteenth Century, keyed to tombs in Cemetery; Biographies and Letters, Short Story and Novel, , Florence and Foreigners, English, American German, Polish; Criticism
HE
=Twentieth Century Literature, Poetry, Trauma, Women, Australian, Black, Native American ||
VAU
=Music, Theatre, Dance || Glorney Bolton, Eileen Bolton, Julia Bolton Holloway publications
ZAYIN
=Travel, Art History, Codicology/ Paleography, Handcrafts
KHETH
=Electronic and Microform Library, e-books on-line, CDs in library, microfilms of medieval and nineteenth-century manuscripts, slides, etc.
LAMED= Education
TET
=Offprints, Journals, etc.
SHIN=Swiss Archives of the 'English' Cemetery
TAU=Cemeteries, Gardening
 

 

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