WhiteSilence

These formulae, emblematic of Omniscience, condense into a few symbols the immutable laws of the universe. This mighty instrument of human power itself originates in the primitive constitution of the human mind, and rests upon a few fundamental axioms, which have eternally existed in Him who implanted them in the breast of man when he created him after His own image.

                                               Mary Somerville (E29), The Connexions of the Physical Sciences, 1837.

                                marrone, intervento conservativo sul ferro
                                rosso, tombe danneggiate, intervento di ripristino
                                azzurro, tombe, intervento di pulitura

Key:

TOMB NUMBER IN SPACE/ TOMB NUMBER IN TIME/ NAME/ COUNTRY
Paragraph that distills the archival material into a portrait, the story of each person.

Photograph

Belle Arti description: [Misure/Measurements: Marmo/Marble: Altezza/Height;  Lunghezza/Length; Profondita/Depth; Pietra serena: A: L: P: Recinto/Frame: Marmo o Pietra Serena con Ferro/Iron: A: L: P: ]/ INSCRIPTION ON TOMB/
Archival materials retrieved from:
1828-1844 = the earliest Register of Burials in the Swiss Cemetery.
Eglise Evangelique-Reformée de Florence Régistre des Morts:
I: 1852-1859 'Registre des Sepultures avec detail des frais', Paoli = Expense entries for funerals where here the total is given, while the accounting in the Register also carefully lists in that total the costs for the coffin, its lining, the grave, the crepe and gloves for the bearers, the carriage for the pastor, etc.
II: 1859-1865 'Registre des Sepultures' avec detail des frais, Paoli e Francs
III: 1865-1870 'Registre des Sepultures' avec detail des frais, Francs
IV: 1871-1875 'Registre des Sepultures' avec detail des frais, Francs. This register is the only one indicating the zone of burial. Its A comprises Sectors A,B, its B comrpises Sectors E,F, its C corresponds with Sectors C and D.
Quittance receipts, Q plus number.
Guildhall Library Records, etc./
Orbituaries supplied by the Webbs, etc.
1873 Chronological Register in French, then Italian/#/Cognome/Nom/Age/Patria/Domicile/Décés/Enterrement/Remarques
1877 Alphabetical Register in Italian gives following information in columns:
[Flyleaves] Cognome/ Nome/ Paternita` / Patria/ Data della Morte/ Eta/ Tomba
[Surname/ Christian name/ Father's Christian name/ Country/ Date of death/ Age/ Tomb number]
Mediterranean culture has the woman retain her maiden surname, northern European culture has her renounce it in favour of her husband's surname. We attempt to follow cultural practices so: Mediterranean women being listed under their maiden surnames; English and American wives having their maiden names given in brackets before their husband's surname/
Notes and Queries (N&Q) then extant tomb inscriptions, published 100 years ago by Lieut. Col. G.S. Parry, 'Inscriptions at Florence in the Protestant Cemetery'.
Further information from descendants, etc.
Schede di Belle Arti, 1993-1997
Trizzino: Università degli studi di Firenze, Prof. L. Trizzino, Corso di Restauro dei Monumenti, 2006/7
Interventi di restauri, di pulitura.
Proprietà: Chiesa Evangelica Riformata Svizzera, 1827-present.
Web materials, also Mediatheca 'Fioretta Mazzei', TAU, holdings


Having finished Sector D we now turn to Sector E at its bottom corner opposite the studio of Michele Gordigiani (who painted the portraits of the Brownings and Camille Cavour), then walking up towards the King of Prussia's column and cross.

  Harper's Monthly engraving

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.

      

 

   

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

E2/ 1128/ EMMA MATILDA BALL/ ENGLAND
She witnesses the marriage between Francis Henry Ball and Elizabeth Attfield http://farnham.attfield.de/fam287.html (who later becomes a Jopling, dying in childbirth, with the same 'LOOKING INTO JESUS' inscription, E47/ ELIZABETH (ATTFIELD BALL) JOPLING), at St James, Paddington, in 1844. Many descendants/relatives of this family will die in the Coventry WWII bombing.

 

Tomba. Marmista ignoto. Sec. XIX, post 4/1871. Ambito toscano. Tomba a forma di croce orizzontale in marmo, lettere incise in lettere capitali e numeri arabi, poggiante sui quattro lati su due basamenti in pietra serena, pietra serena erosa. Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2012. Possibile intervento di consolidamento. [M: A: 31. L: 57. P: 153.; P.s. A: 72. L: 84. P: 180.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: SACRED TO THE MEMORY OF EMMA MATILDA BALL OF LONDON WHO DIED AT// FLORENCE 18 APRIL 1871// LOOKING INTO JESUS, SHE FELL ASLEEP IN THE FULL ASSURANCE OF A GLORIOUS// RESURRECTION/ [Hebrews 12.2 'Looking unto Jesus, the author and finisher of our faith']/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Emma Ball, l'Angleterre, fille de Edouard Ball/ IV: 1871-1875 'Registre des Sepultures' avec detail des frais, Francs 407, B/ Pall Mall Gazette, Times, Emma Matilda Ball, recently of Inverness, eldest daughter of the late Edward Ball, Esq, of 3, Carlton-villas, Maida vale/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: 64. Ball/ Emma/ Edoardo/ Inghilterra/ Firenze/ 18 Aprile/ 1871/ Anni 60/ 1128/ N&Q 420. Emma Matilda Ball, of London, ob. 18 Ap., 1871. Pulitura, Dumitrescu, 2012. Chiesa Evangelica Riformata Svizzera, 1827-present.


E3/ 526/ SAMUEL DOBREE/ ENGLAND
His grandfather's papers are in the National Archives in connection with the Hackney volunteers. The Dobrees were from Guernsey. See F43/ AMELIA AUGUSTA (WRIGHT) LE MESURIER, whose mother-in-law is Elisabeth (Dobree) Le Mesurier of Guernsey.



Lastra. Marmista ignoto. Sec. XIX, post 1/1854 Ambito toscano. Lastra in marmo spezzata, marmo sporco, incisa in lingua inglese in lettere capitali e numeri arabi, urna posta nella parte retrostante, poggiante su un basamento in pietra serena. Possibile intervento di consolidamento sulla lastra. [M: A: 2. L: 67. P: 136.; P.s: A: 40. L: 75. P: 145.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: SACRED/ TO THE MEMORY OF/ LIEUTENANT SAMUEL DOBREE/ OF THE FIFTH REGIMENT NATIVE LIGHT INFANTRY/ AND ASSISTANT MILITARY AUDITOR GENERAL/ BOMBAY/ SECOND SON OF THE REVEREND I.G. DOBREE A.M./ RECTOR OF NEWBOURN SUFFOLK/ BORN 27TH FEBRUARY 1827/ DIED 7TH JANUARY 1854/ 529/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Samuel Dobree, Comté de Suffolk, Empire Britannique/ 1852-1859 'Registre des Sèpultures avec detail des frais', Paoli 695.4/ Q 104: 430.4 Paoli/ Records, Guildhall Library, London: GL23777/1 N°193, Burial, aged 27, Rev Greene (A51)/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Dobree/ Samuele/ / Inghilterra/ Firenze/ 7 Gennaio/ 1854/ Anni 28/ 526/ N&Q 419. Lieut. Dobree, 5th Native Lt. Infantry, Assistant Military Auditor-General, Bombay, 2nd s. of the Rev. J. G. Dobree, A.M., Rector of Newbourn, Sun 7 ., b.27 Feb., 1827, ob. 1 Jan., 1854. Chiesa Evangelica Riformata Svizzera, 1827-present.


E4/ 1020/ MARGARET (ROBINSON/ROBERTSON) MCNAB/ SCOTLAND
The McNab of McNab was a tyrant who took his tenants to Canada and treated them brutally, abandoning his wife and daughters. The daughter who erects this monument is Sarah Ann McNab, considered the 18th Laird of McNab and who is buried in the Allori Cemetery. See above for the other daughter, Margaret McNab, who predeceased her mother. We know from the N&Q listing of the tombs in the Cemetery that they originally lay side by side in  this sector.



Cippo. Marmista ignoto. Sec. XIX, post 6/1868. Ambito toscano. Cippo crollato, marmo non molto sporco. 

[Now at DD21V] 92/ MARGARET MCNAB/ SCOTLAND
Archibald McNab of McNab as Laird, settled in Canada to avoid paying debts, dying in 1860. Her sister, Sara Ann McNab, considered the 18th McNab Laird, is buried in the Allori Cemetery. Their mother is E4/ MARGARET (ROBINSON/ROBERTSON) MCNAB.



Colonna in base. Marmista  ignoto. Sec. XIX, post 1/1832. Ambito toscano. Colonna e due basi ottagonali, ora in frammenti. Possibile intervento di ripristino e pulitura. [M: A: 115; circum: 97; M: A: 86; L: 70; P: 70; Mbase: A: 31; L: 90; P: 90.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: SACRED TO THE MEMORY OF/ MARGARET MACNAB/ YOUNGEST DAUGHTER OF ARCHIBALD MACNAB/ OF MACNAB/ AND OF MARGARET ROBERTSON HIS WIFE/ SHE WAS BORN AT . . . / ON THE LOC. . . / AND DIED AT FLORENCE/ ON THE 31 OF JANUARY 1832/ AGED 18 YEARS AND . . . / SHE WAS WISE/ . . . GOOD AND . . . / AND A PURER SOUL/ NEVER INHABITED/ A HUMAN FORM/ THIS MONUMENT IS ERECTED BY/ HER MOTHER/ AND HER ONLY SISTER/ SARAH ANN/ SHE WAS THE FIRST/ OF SIX/ . . . SURVIVING . . ./ . . ./N. 92/  Records, Guildhall Library, London: GL 23773/4 N° 16: d of Archibald Mcnab of Macnab Perth & Margaret Robinson, Burial 2-2, Rev Hutton/ III: 1865-1870 'Registre des Sepultures' avec detail des frais; Francs 281/ Caledonian Mercury/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Mac Nab/ Margherita/ / Inghilterra/ Firenze/ 31 Gennaio/ 1834/ Anni 18/ 92/ for mother, see entry, Sector E/ N&Q 422. Margaret, youngest d. of Archibald McNab, of Macnab, and of Margaret Robertson, his w. B. at Edinburgh, 1 Nov., 1815; ob. 31 Jan., 1834. Erected by her mother and her only sister Sarah Anne, who was the first-born of 6, 3 sons and 3 ds., and now the only surviving child of her mother/ Formerly in Sector E and to be restored there. Chiesa Evangelica Riformata Svizzera, 1827-present.

E5/ 561/ MARY MARGARET (MURRAY) LADY DON/ ENGLAND
Sir George Seton of Barnes, the titular of Earl of Dunfermline had seven children, and his daughter Anne Seton married Jon Don and these were the parents of General Sir George Don, the noted longest-serving Governor of Gilbraltar, nephew of Governor Vice Admiral James Seton. His widow was Mary Margaret Lady Don, the daughter of Patrick 5th Lord Elibank and purportedly Mary Margaretta De Jonge his wife, the widow of Lord North, or more likely by his mistress Mary Mortlock. Lady Don was a great benefactor of the English Community in Florence, her fund helping indigent English persons return home. She has herself buried beside her sister's tomb who had predeceased her. Their niece Susan Murray married Brunswick Popham, creating a further network of relations. Their Villino Strozzi would later become the residence of John Rodham Spencer Stanhope, his wife and their daughter, B10/ MARY SPENCER STANHOPE who is buried in Sector B. NDNB entry Sir George Don. Webbs, Anglo-Florentines, pp. 77, 373, 400.

     

 

General Sir George Don

Colonna sormontata da un'urna. Marmista ignoto. Sec. XIX, post 1/1855. Ambito toscano. Scultore: Pietro Bazzanti, Firma: P.BAZZANTI.F Due colonne incise sormontate da urne, marmo sporco, poggianti su basamento in pietra serena, pietra serena molto erosa.

[M: A: L/P circum:; P.s. A: 18. L: 75. P: 68.; R: A. 20. L: 176. P: 140.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: SACRED/ TO THE MEMORY OF/ LADY DON/ WIDOW OF/ GENERAL SIR GEORGE DON/ G.C.B. AND G.C.H./ FOR MANY YEARS GOVERNOR OF/ GIBRALTER/ DIED AT FLORENCE/ 15 JANUARY 1855/ AGED 90 YEARS/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Villino Strozzi, près Florence, Marie Marguerite Don, Iles Britaniques, Rentiere/ 1852-1859 'Registre des Sèpultures avec detail des frais', Paoli 507/ Q 166: 458 Paoli, Margherini receiving 49 Paoli for furning the hearse and carriages for the funeral/ Records, Guildhall Library, London: GL23777/1 N° 212, Burial 18/10, widow of General Sir George Don, Governor of Gibralter/ Maquay Diaries: 17 Jan 1855/ Morning Chronicle, Morning Post, Caledonian Mercury/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Don/ Maria Margherita/ / Inghilterra/ Villino Strozzi/ 15 Gennaio/ 1855/ Anni 91/ 561/ Belle Arti 1993-1997 scheda. Chiesa Evangelica Riformata Svizzera, 1827-present.
See http://www.mortlock.info/encyclopedia/kirtling.pdf


E6/ 263/ ANN MURRAY/ ENGLAND
Ann Murray is the unmarried sister of Lady Don (E5), likewise an illegitimate daughter of Patrick Lord Elibank, and aunt of Susan Murray who will marry Brunswick Popham.

    

 

Urna su colonna. Marmista ignoto. Sec. XIX, post 5/1843. Ambito toscano. Scultore: Pietro Bazzanti, Firma: P.BAZZANTI.F. Sec. XIX, post 1843. Due colonne in marmo incise sormontate da urne, marmo sporco, poggianti su un basamento in pietra serena, pietra serena molto erosa. 

E19H/ PAMELA AND ANDREW FLYGT/ ENGLAND
An English couple who lived near Siena, their lawyer arranging their burial.
Lastra. Sec. XXI, post 2003. Lastra in marmo incisa in lingua inglese in lettere capitali e numeri arabi.  [M: A: 10; L: 70; P:; 70.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: PAMELA AND ANDREW/ FLYGHT/ 13.3.1923/20.3.2003. Chiesa Evangelica Riformata Svizzera, 1827-present.

880/ NORMA (WOODALL) PIERUCCI/ AMERICA
She seems to be the sister of E7/ FRANCIS ALLEN WOODALL, buried in Sector E, and who had married into an Italian family who pay for a decent funeral.
Woodall nei [nata] Pierucci/ Norma/ / America/ 29 Settembre/ 1864/ Anni 22/ 880/ Norma Pierucci née Woodwall, l'Amerique// Etats d'Amérique/ II: 1859-1865 'Registre des Sepultures avec detail des frais', Francs 326.55.

 

 
Prima                        Dopo.                           Cippo caduto.
 
Cippo. Marmista ignoto. Sec. XIX, post 8/1865. Ambito toscano. Cippo caduto. Intervento di pulitura Scuola per l'Arte ed il Restauro di Palazzo Spinelli, 2008. Intervento di consolidamento, Gheorghe Petrache, 2009;

Intervento di rimontaggio, Daniel Claudiu Dumitrescu, 2010; Intervento di restauro, consolidamento e pulitura, dopo il temporale, Daniel-Claudiu Dumitrescu, 2014. [M: A: 107; L: 54; P: 18; R: A: 25; L: 90; P: 170.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: WIFE AND SON/ OF/ FRANCIS WOODALL/ BORN IN KENTUCKY, U.S.A./ DIED IN FLORENCE/ AUGUST 12 1865/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Allen F. Woodall, Lexington, Amerique/ II: 1859-1865 'Registre des Sepultures avec detail des frais, Francs 175.55/ Timothy Bigelow Lawrence, Consular Records, Bigelow to Seward, Death of Allen F. Woodall of Convington, KY, Died of consumption, 12 August 1864/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti:Woodall/ Allen F. / / America/ Firenze/ 12 Agosto/ 1864/ Anni 37/ 876/ N&Q 375. Francis A. Woodall, b. in Kentucky, ob. 12 Aug., 1865. Erected by his w. and son/ Eglise Evangelique-Reformée de Florence Régistre des Morts: Norma Pierucci née Woodwall, l'Amerique]/ III: 1865-1870 'Registre des Sepultures' avec detail des frais, from 2 to 1 class, 177 Francs/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Woodall nei Pierucci/ Norma/ / America/ 29 Settembre/ 1864/ Anni 22/ 880]/°=Polk Laffoon, Danneggiata, 19/9/2014. Restauro, pulitura, Dumitrescu, 2015. Chiesa Evangelica Riformata Svizzera, 1827-present.


E8/ 169/ GUSTAV BENEDICKS/ SVEZIA
He is the son of Samuel Gustav Benedicks and has a famous descendant of his own name who dies in 1918.

 

 

 

Stele. Marmista ignoto. Sec. XIX, post 4/1838. Ambito toscano. Stele sormontata da una croce in marmo ora caduta, marmo sporco, posta su basamento in pietra serena, recinto in pietra serena, entrambi notevolmente erosi. Intervento di restauro dopo il secondo temporale, Daniel-Claudiu Dumitrescu, 2015-2016. [M: A: 108; L: 46; P: 46; P.s. A: 28; L: 54; P: 54; R: A: 30; L: 76; P: 160.] Iscrizione sepolcrale in svedese incisa in lettere capitali e numeri arabi: HAR HVILAR/ GUSTAV BENEDICKS/ FODD I STOCKHOLM/ DEN 2 FEBRUARI 1798/ DOD I FLORENS/ DEN 30 APRIL 1838/ N.169/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: 100. Benedicks/ Samuele Gustavo/ S/ Svezia/ Firenze/ 30 Aprile/ 1838/ Anni 40/ 169. Cippo caduto sotoo albero #22 dal vento 5/3/2014. Chiesa Evangelica Riformata Svizzera, 1827-present.


E9/ 164/ WALTER KENNEDY LAWRIE/ SCOTLAND
A beautiful Neoclassical tomb showing the wife and son mourning the spouse and father whose medallion bas relief bust is portrayed within an ourobouros.  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 Raeburn portrait of 'Walter Kennedy Lawrie of Woodhall, Lauriston', 1815, now in Philadelphia may be of his grandfather, likewise the copy of Thomas Busby's A General History of Music, 1819 with his bookplate, currently on sale by an Italian bookseller, indicating it may have come to Italy by way of his grandson. His spouse is Clorinda, his son Walter, who marries a Giulia, both of whom we see sculpted on this tomb in classical garb, as we see also with the tombs for B20/ JOHAN CLAES LAGERSVARD and D126/ CHARLES WITAL. The Webbs add:  'Walter Kennedy Lawrie I've been trying to disentangle the ancestry of this man, who I suspect was consumptive – certainly at 31 he was young to die.  Lord Malmesbury, from time to time an incompetent Foreign Secretary, remembered him in his Memoirs, published in 1885: ''There was at that time [1832] in Florence a Scotch banker of the name of Lawrie, who had a very good gallery of pictures.  He had married a most beautiful girl of poor parents in Florence, having taken her as a child and educated her for his wife.  We made her acquaintance, and found her a very pleasant and ladylike person.' The wife was Clorinda Aretini, and (to judge from the fact that WKL received Protestant burial) it was a mixed marriage.  She, their one son, another Walter Kennedy, and his wife Julia, were all buried up at San Miniato.  The son too died youngish, on 1 February 1875, although it's not quite clear how old he was – 'in the flower of his age' according to his monument, so not much more than 40, if that.  The 'good gallery of pictures' included one that was believed to be a Raphael, but is now thought to be a copy of the 'Madonna di Loreto' in the Musée Condé at Chantilly.  The younger Walter Kennedy Lawrie in the 1850s had it scrutinised by experts in Rome who pronounced it to be genuine (only modern x-rays have proved otherwise). What the elder Walter Kennedy's activity as a banker was I don't know – Malmesbury is the only authority that I have for this occupation – but where his money came from is hardly in doubt.  His father William Kennedy was a Jamaica planter, born in 1769, who in 1802 inherited Laurieston, an estate in Galloway, from a Walter Sloane Laurie.  As people so often did in these circumstances, he added the name Laurie (or Lawrie) to his own.  He already had children, including a Thomas who probably stayed in the West Indies, and a William who probably came with him to Scotland, but I think he was married again, in Edinburgh in 1805, to the daughter of another West Indies planter. Our Walter – who was given the name of the man from whom his father had acquired the Galloway estate – looks like the child of this marriage and was born (someone says) 20 August 1806, but I can't find out where.  It was at some point in that year that his father William received a letter from the manager of his estate in Jamaica, which was called Woodhall, reporting on the purchase of slaves and lamenting the shortage of females, which was due to 'the lengths to which the abolition business has been carried in England'.   William Kennedy died in 1811, and I suspect that the Raeburn is a portrait of him, not of a Walter.  Not only do these two names often get confused, but I simply can’t find any previous Walter Kennedy Lawrie.  The fact that William Kennedy took the additional name only on his inheritance in 1802 rather argues against it.   The name Woodhall was later given to the family's estate in Galloway, which was inherited by the son William already mentioned, who would on this reading be Walter's older half-brother.  Was young Walter delicate?  Was that why he turns up, aged not yet 20, in Florence? (He subscribes to Vieusseux in February of that year.)  And did he transmit a weak constitution to his son?  What he did transmit was money.  If Malmesbury was right that his wife's family were poor, they suddenly found that as the child's guardians they had the management of a fortune.  And part of it – which I have only just found out – consisted of palazzi, one in Borgo SS Apostoli and one on the opposite bank of the Arno, which housed the much-frequented Hotel variously called the Quattro Nazioni or Quatre Nations.  There seems to have been a bit of a spat with an hotelier who thought he owned it before the guardians put in one of their own – an Aretini – as manager in 1839.  They were now calling it the Albergo Reale dell' Arno, although to judge by Vieusseux people went on staying at the Quatre Nations'. Webbs, Anglo-Florentines, pp. 88, 367, 463.

   

Stele. Scultore: Pietro Bazzanti. Sec. XIX, post 11/1837. Ambito toscano. Stele in marmo scolpita e incisa, sul fronte due figure classicamente abbigliate, vedova piangente per la morte del consorte, braccio sinistro poggiante accanto ad un'urna, ai suoi piedi il figlio in lacrime, figura del consorte racchiusa in un ouroboros, marmo non molto sporco. Monumento sepolcrale a edicola ornato da un rilievo figurato e poggiante su basamento a due ordini modanato. Coronamento a timpano con stemma frontale e acroteri lisci. [M: A: 207; L: 91.7; P: 54.5.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: N.164/ WALTER KENNEDY LAWRIE/ BORN IN SCOTLAND 20TH AUGUST/ 1806/ DIED IN FLORENCE 28TH NOVEMBER 1837/ THE LORD GAVE AND THE LORD HATH TAKEN AWAY/ AND BLESSED BE THE NAME OF THE LORD [Job 1.21]/ THY WILL BE DONE [Matt 6.10; 26.42; Luke 11.2]/ GL 23774 N° 60 Burial 08-12/ See Kennedy/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Lawrie/ Gualtiero Kennedy/ / Inghilterra/ Firenze/ 29 Novembre/ 1837/ Anni 31/ 164/ Belle Arti 1993-1997 scheda/ Europeana entry. Chiesa Evangelica Riformata Svizzera, 1827-present.


E10/ 743/ JOHN EDWARD ELLIOTT/ ENGLAND
He is not yet two years old. His father works for the railroads in Tuscany.

 

Cippo. Marmista ignoto. Sec. XIX, post 7/1861. Ambito toscano. Cippo in marmo inciso, marmo sporco, scolpito con una croce con bracci trifogliati sotto archi ogivali gotici, posto su basamento in marmo.  Intervento di pulitura, Daniel-Claudiu Dumitrescu, 2012. [M: A: 145.L: 74. P: 25.; M: A: 25. L: 87. P: 37.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: IN AFFECTIONATE REMEMBRANCE/ OF/ JOHN EDWARD ELLIOTT, SON/ OF/ JOHN AND MARY ANN ELLIOTT/ WHO DIED IN FLORENCE 29 JULY 1861/ AGED 1 YEAR AND 9 MONTHS/ Records, Guildhall Library, London: GL23777/1 N° 295, son of John and Mary Elliott, aged 1 year 10 months; Baptism GL23775 N° 128, born 26/10/59, bp 01/01/60, father superintendent of locomotives on the Leopolda railway, Rev O'Neill; sibling GL23775 N° 149, Lydia, bp 13/06/62, Rev Ponton/ II: 1859-1865 'Registre des Sepultures avec detail des frais, Paoli 260/ Q 470: 115 Paoli/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Elliott [later, ?]/ Gio: Edoardo/ Giovanni/ Inghilterra/ John Edward Elliott, l'Angleterre, fils de John Elliott et de Mary Anne, née Parker/ Inghilterra/ 29 Luglio/ Mesi 21/743. Pulitura, Dumitrescu, 2012. Chiesa Evangelica Riformata Svizzera, 1827-present.

E11A/ 26/ ANNETTE (MONTGOMERY CAMPBELL) HAMILTON/ SCOTLAND
She and her husband stayed in Lockart's cottage close to Abbotsford and were friends with Sir Walter Scott.  She dies many years before her husband and in Florence. Though he dies in Pisa he arranges that he lie forever beside her. Funds continued to be paid for the upkeep of these two tombs for many years. See Q 48: 31/12/1852, Q 155, 31/12/1854, Q 212 20/12/1855, Q 251 31/12/1856, Q 286: 23/12/1857, always for 20 Paoli.

 

Sarcofago. Scultore: Pietro Bazzanti; Signature: P.BAZZANTI.F Sec. XIX, post 12/1829. Ambito toscano. Sarcofago in marmo con motivi egizi, disco solare alato. Possibile intervento di pulitura.  [M: A: 134; L: 180; P: 94; RP.s. A: 32; L: 220; P: 278.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: HERE ARE LAID/ THE MORTAL REMAINS OF ANNETTE/ WIFE OF THOMAS HAMILTON ESQUIRE/ WHO DIED AT FLORENCE ON THE/ TWENTY SIXTH OF DECEMBER MDCCCXXIX/ THIS LAST MEMORIAL OF PAST HAPPINESS AND UNCEASING/ LOVE WAS ERECTED BY HER BEREAVED HUSBAND/ N.XXVII/
N° 26             Le vingt-huit Decembre mil huit cent vingt-
Hamilton     neuf, Annette Hamilton née Campbell, dece
                       =dee le vingt-six du meme mois, a ete ensevelie
                       dans le Cimetière de l'Eglise Evangelique en
                       presence de Mrs Ls Wolff et Gge Courvoi
                       =sier -
                                                                  Chs. Recordon Pasteur~
Obituary, Morning Chronicle, Aberdeen Journal, daughter of deceased Archibald Montgomery Campbell, of Upper Wimpole Street, London/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Hamilton nata Campbell/ Annetta/ / Inghilterra/ Firenze/ 26 Dicembre/ 1829/ / 26/ DNB/NDNB, first wife of Thomas Hamilton/ See Campbell/ Belle Arti 1993-1997 scheda. Chiesa Evangelica Riformata Svizzera, 1827-present.


E11B/ 253/ THOMAS HAMILTON/ SCOTLAND
Annette Hamilton(E11A)'s widower was born in Pisa to a Scottish physician, educated in Scotland, then served in the Peninsular battles, was wounded, later writing novels and travel books, including the novel Cyril Thornton and the 1829-1831 Annals of the Peninsular Campaigns: From MDCCCVIII to MDCCCXIV, contributing to Blackwoods: http://en.wikipedia.org/wiki/Thomas_Hamilton_%28writer%29 He married a second time and became friends with William Wordsworth. Falling ill he chose to have his body brought from Pisa to Florence to be buried beside his first wife. Funds continued to be paid for the upkeep of these two tombs for many years.



Lastra. Marmista ignoto. Sec. XIX, post 12/1842. Ambito toscano. Marmo sporco. Possibile intervento di pulitura. [M: A: 2.5; L: 202; P: 86.2; RP.s. A: 32; L: 220; P: 278.] Iscrizione sepolcrale in inglese incisa in lettere capitali e numeri arabi: IN LOVE AND RESPECT/ TO THE MEMORY OF/ THOMAS HAMILTON, ESQUIRE/ WHO HERE LIES BURIED/ DIED AT PISA ON THE/ SEVENTH OF DECEMBER 1842/ IN HIS FIFTY THIRD YEAR/ M.F./ Q 106: 20 Paoli/ Records, Guildhall Library, London: GL 23774 N° 41: Birth 04-01-90, age 52, Burial 11-12, Rev Thomas Tuam/ Obituary, Belfast Newsletter, author of Cyril Thornton, Travels to America, etc., brother to Sir Wm Hamilton, Bart, of Edinburgh/ Registro alfabetico delle persone tumulate nel Cimitero di Pinti: Hamilton/ Tommaso/ / Inghilterra/ Pisa/ 7 Dicembre/ 1842/ Anni 53/ 253/ NDNB entry. Chiesa Evangelica Riformata Svizzera, 1827-present. See waterloo.html, http://archive.org/details/annalsofpeninsul03hami, http://archive.org/details/youthandmanhood02hamigoog


E12/ 1355/ JAMES LORIMER GRAHAM, JR/ AMERICA
This American Maecenas, married, gay, founded Graham's Magazine, had wealth, was shipwrecked and injured, appointed American Consul in Florence by President Grant, occupied the Villa Valfonda, now the Palazzo dei Congressi, Claire Claremont (Mary Shelley's stepsister, who bore Lord Byron the child Allegra), lodging with him, and he collected autographs, books, paintings which he willed to the Century Association, New York, http://archive.org/details/catalogueofjames00centiala, which sold them at auction.  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(?). Launt Thompson, besides the bas relief of James Lorimer Graham on this tomb,  also created the bronze bas-relief to Bayard Taylor, 20/9/1881, in Kennett Square, Pennsylvania. Algernon Swinburne's elegy to his friend, James Lorimer Graham, appeared in his Poems and Ballads, Second Series, 1904.

WhiteSilence

Life may give for love to death
Little; what are life's gifts worth
To the dead wrapt round with earth?
Yet from lips of living breath
Sighs or words we are fain to give,
All that yet, while yet we live,
Life may give for love to death.

Dead so long before his day,
Passed out of the Italian sun
To the dark where all is done,
Fallen upon the verge of May;
Here at life's and April's end
How should song salute my friend
Dead so long before his day?

Not a kindlier life or sweeter
Time, that lights and quenches men,
Now may quench or light again,
Mingling with the mystic metre
Woven of all men's lives with his
Not a clearer note than this,
Not a kindlier life or sweeter.

In this heavenliest part of earth
He that living loved the light,
Light and song, may rest aright,
One in death, if strange in birth,
With the deathless dead that make
Life the lovelier for their sake
In this heavenliest part of earth.

Light, and song, and sleep at last --
Struggling hands and suppliant knees
Get no goodlier gift than these.
Song that holds remembrance fast,
Light that lightens death, attend
Round their graves who have to friend
Light, and song, and sleep at last.

 

 

Sarcofago. Scultore: Launt Thompson, Signature: Launt.Thompson Jr 1878. Sec. XIX, post 4/1876. Ambito toscano./ Sarcofago in marmo bianco, inciso, sul fronte medaglione, su uno dei fianchi stemma.