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Introduction Notes Introduction 1. William Wordsworth, The Letters of William and Dorothy Wordsworth, ed. E. De Selincourt, second revised edition, ed. Mary Moorman and Alan G. Hill, 7 vols (Oxford: Clarendon Press, 1967–88), VII, p. 838. 2. Recollections of the Table-Talk of Samuel Rogers, ed. Bishop Morchard (London: Richards, 1952), p. 282. 3. During Cary’s lifetime there were four editions of The Vision: 1814, 1819, 1831 and 1844. Cary’s biographer, W.J. King, counted as many as twenty editions of The Vision between the poet’s death and the 1920s. The Translator of Dante (London: Secker, 1925), p. 285. 4. Gilbert F. Cunningham, The Divine Comedy in English: a Critical Bibliography 1782–1900, 2 vols (Edinburgh and London: Oliver and Boyd, 1965–66), pp. 6–8. 5. Henry Cary, Memoir, II, pp. 18–19. The meeting took place in the autumn of 1817. 6. See especially Jerome McGann, ‘Rethinking Romanticism: the Challenge of Periodisation’, English Literary History, 59 (1992), pp. 735–54. 7. See for instance, Marshall Brown’s introduction to the Cambridge History of Literary Criticism: Romanticism (Cambridge: Cambridge University Press, 1989). 8. For Lamb’s iconoclasm, see Luisa Calè, ‘“The Vantage-Ground of Abstraction”: Charles Lamb on Reading and Viewing’, in Image and Word; Reflections of Art and Literature from the Middle Ages to the Present, ed. A. Braida and Giuliana Pieri (Oxford: Legenda, 2003), pp. 135–50. For Blake’s attitude towards ‘Republican Arts’, see John Barrell and Morris Eaves, The Counter-Arts Conspiracy: Art and Industry in the Age of Blake (Ithaca and London: Cornell University Press, 1992); John Barrell, The Political Theory of Painting from Reynolds to Hazlitt: ‘The Body of the Public’ (New Haven and London: Yale University Press, 1986). 9. Julia Kristeva, Séméiotiké: Recherches pour une sémanalyse (Paris: Le Seuil, 1969); Harold Bloom, The Anxiety of Influence (New York: Oxford University Press, 1973). 10. Graham Allen, Intertextuality, the New Critical Idiom (London and New York: Routledge, 2000), pp. 140–1. 11. According to Graham Allen, David Duff argues that ‘attention to literary genre evaporates as we move from the work of Bakhtin to Kristeva’s and other poststructuralists’ work’. Cited in Allen, Intertextuality, p. 57. 12. Thomas De Quincey, Confessions of an English Opium Eater and Other Writings, ed. Grevel Lindop (Oxford: Oxford University Press, 1989), p. 141. 13. Lucy Newlyn, Reading, Writing and Romanticism (Cambridge: Cambridge University Press, 2001), p. 300. 179 180 Notes 14. ‘Theories of Genre’, in Brown, Romanticism, p. 230. 15. Lucy Newlyn, Coleridge, Wordsworth and the Language of Allusion (Oxford: Clarendon Press, 1986), pp. viii–ix. 16. Gérard Genette, Palimpsestes; La littérature au second degré (Paris: Seuil, 1982), p. 13, translated by Allen, Intertextuality, p. 108. 17. Allen, Intertextuality, p. 108. 18. In a letter to John Murray of 20 March 1820, Byron compares his trans- lation of Francesca da Rimini with previous ones. George Gordon, Lord Byron, Byron’s Letters and Journals, ed. Leslie A. Marchand, 12 vols (London: Murray, 1973–82), VII, 58. Byron’s journals contain numerous references to Dante. See, Byron’s Letters and Journals, III, p. 221, IV, p. 11, VI, p. 121. 1. The eighteenth-century reception: Dante and visual culture 1. The Yale Edition of Horace Walpole’s Correspondence, ed. W.S. Lewis (1895–1983), 48 vols (Oxford: Oxford University Press, 1983), XXXI, Horace Walpole’s Correspondence with Hannah More (1961), p. 296. Hannah More refers to Thomas Burgess’s Considerations on the Abolition of Slavery and the Slave Trade, upon Grounds of Natural, Religious, and Political Duty, Oxford, 1789. The quotation is at page 74. 2. Crisafulli (2003) devotes some attention to the eighteenth-century recep- tion, but focuses mostly on the reception of The Vision since its publication. Pite (1994) devotes his study to the nineteenth-century assimilation of Dante into English literature. Nick Havely’s collection deals with Thomas Gray’s study of Dante, acknowledging that ‘the process of rehabilitation … was well under way by 1800’, but the collection focuses on the post- Romantic reception: Havely, Dante’s Modern Afterlife (Basingstoke and London: Macmillan – now Palgrave Macmillan 1998), p. 2. Earlier studies have taken a broader chronological approach: Tinkler-Villani (1989) analy- ses eighteenth-century translations of Dante as well as Cary’s, and Peter Brand’s more ambitious study searched for the origins of the reception of Dante in Britain. Charles Peter Brand, Italy and the English Romantics (Cambridge: Cambridge University Press, 1957). 3. For the emergence of a varied and successful commercial visual media before the invention of photography, see especially Gillien D’Arcy Wood, The Shock of the Real: Romanticism and Visual Culture (Basingstoke: Palgrave, 2001) and William H. Gilperin, The Return of the Visible in British Romanti- cism (Baltimore and London: Johns Hopkins University Press, 1993). 4. Brand, Italy and the English Romantics, pp. 49–72. 5. Milbank finds evidence of this political interest in the Florence Miscellany (1785), an anthology meant to encourage the association between the two countries in the common cause for liberty earlier embraced by the Glorious Revolution of 1688. Compare Alison Milbank, Dante and the Victorians (Manchester: Manchester University Press, 1998), p. 9. 6. According to James Sambrook, Colen Campbell’s Mereworth in Kent is the best example of the imitative Palladian villa. The model is Palladio’s Villa Rotonda, near Vicenza. Sambrook, The Eighteenth-Century: the Intellectual Notes 181 and Cultural Context of English Literature 1700–1789 (London and New York: Longman, 1986, 2nd edition, 1993), p. 160. 7. David Rogers, ‘Richardson, Jonathan’, Grove Dictionary of Art (1996), 26, pp. 345–6. 8. Carol Gibson-Wood, ‘Jonathan Richardson and the Rationalisation of Connoisseurship’, Art History, 7 (1984), pp. 38–56, at 54. 9. Jonathan Richardson, Two Discourses (London: printed for W. Churchill at the Black Swan in Paternoster Row, 1719). The two discourses are respec- tively entitled: I. ‘An Essay on the Whole Art of Critism as it Relates to Painting…’; II. ‘An Argument in behalf of the Science of a Connoisseur …’ 10. This was known through Thomas Hoby’s translation, The Courtier of Count Baldessar Castilio (London: imprinted by Henry Denham, 1561) or through Henry Peacham’s later adaptation entitled Compleat Gentleman (London: F. Constable, 1622). 11. Aglionby’s treatise has a similar inspiration to Richardson’s. As he states in the preface, his aim is to encourage history painting in England: ‘we never had, as yet, any [painter] of Note, that was an english Man, that pretended to History-Painting. I cannot attribute this to any thing but the little Incouragement it meets with this Nation’. See Choice Observations Upon the Art of Painting, Together with Vasari’s Lives of the Most Eminent Painters from Cimabue to the Time of Raphael and Michelangelo (London: King, 1719), ‘The Preface’ (unpaginated). 12. Richardson, Two Discourses, I, pp. 204, 208. 13. Richardson, Two Discourses, II, p. 33. 14. Carol Gibson-Wood, ‘Jonathan Richardson and the Rationalisation of Connoisseurship’, p. 50. 15. See Gibson-Wood, ‘Jonathan Richardson and the Rationalisation of Connoisseurship’, p. 51; Morris R. Brownell, Alexander Pope and the Arts of Georgian England (Oxford, Clarendon Press, 1978). 16. The first artist to undertake the task was Botticelli. His parchment illustra- tions were soon dispersed, although some of his designs were engraved in the first Florentine edition of the poem (1481). See Paget Toynbee, ‘The Earliest English Illustrators of Dante’, in Dante Studies, 2nd edition (Oxford: Clarendon, 1921), pp. 133–55. See also Jonathan Nelson, ‘Luca Martini, dantista e Pierino da Vinci’s relief of Count Ugolino della Gherardesca and his sons’, in Pierino da Vinci, ed. Marco Cianchi (Conference Proceedings, 1990) (Florence: Becocci, 1995), pp. 24–32. 17. Now in the Casa Gherardesca at Florence. The bas-relief is by Pierino da Vinci, as acknowledged already by Vasari. The wax design is now in the Ashmolean Museum, Oxford, which also possesses a terracotta version. It was eventually donated to the university by Philip Bury Duncan (1826–55), keeper of the Ashmolean Museum, from the collection of the portrait painter William Hoare (1706–92). See Nicholas Penny, Catalogue of European Sculpture in the Ashmolean Museum 1540 to the Present Day (Oxford: Clarendon, 1992),Vol I, Italian, pp. 95–100. 18. Two Discourses, p. 32; Joseph Warton, Essay on the Genius and Writings of Pope (1756) (London,1806 edn) p. 253. 19. Two Discourses, II, pp. 32–5. 20. Tinkler-Villani, Visions of Dante, p. 64. 182 Notes 21. One of the most influential treatises was Roger De Piles’s L’Idée du peintre parfait pour servir de règle aux jugements que l’on doit porter sur les ouvrages des peintres, first published in 1699. The English editions appeared in 1706 and 1744. 22. Horace Walpole, Anecdotes of Painting in England … collected by the late George Virtue, 5 vols (London: Henry Bohn, 1786), IV, p. 34. 23. In 1735 Desmaizeaux published an edition of Bayle’s Dictionnaire Historique et Critique in which he stated his intention of providing trans- lations of ‘quotations from Eminent Writers in various languages’. See Toynbee, Dante Studies, I, p. 283. The section devoted to Dante includes about twelve passages from the Divina Commedia translated freely into heroic couplets. His example can confidently be described as Dryden’s ‘Paraphrase’. 24. A similar loss is recorded for Dr Charles Burney’s complete prose translation of the Inferno as acknowledged by his daughter. He also published a brief translation from Purgatorio II in his History of Music. See Fanny Burney, Memoirs of Dr Burney; Arranged from his own Manuscripts … by his Daughter, Madame d’Arblay, 3 vols (London: Moxon, 1832), I, pp. 150–1. 25.
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