The Canonization of Italian Women Writers in Early Modern Britain by Diana Robin

Early Modern Women: An Interdisciplinary Journal 2011, vol. 6

The Canonization of Italian Women Writers in Early Modern Britain By Diana Robin

amela Benson’s keynote lecture on the reception of Italian women writ- Pers in early modern England, delivered in 2008 at the meeting of the Society for the Study of Early Modern Women, was the inspiration for this paper. We learned from Professor Benson that, far from being influenced by the works of the celebrated women writers of the Italian Renaissance, British women writing in the sixteenth and seventeenth centuries had no first-hand knowledge of the works of their female counterparts in Italy.1 And yet, by 1823 the works of these early modern Italian women writers formed a significant part of the holdings of the British Museum. In this sequel to Professor Benson’s paper, I have attempted to posit some of the circumstances under which the lost writings of the Italian Renaissance women poets were recovered in eighteenth-century Britain, after more than two centuries of oblivion.

The Sale of Consul Joseph Smith’s Library to George III and its Entrance into the British Museum

In 1756, following the Seven Years War, a tsunami of bank failures left not only Venice but the rest of Europe under water. The British Consul in Venice, Joseph Smith, perhaps the greatest art patron of his day,2 was facing bankruptcy. At the urging of friends and business associates in Venice and London, the Consul entered into negotiations in 1759 with King George III and his agents, the Earl of Bute and his brother, the

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British envoy to Turin, for the sale of his entire art collection and library.3 At the time, Smith owned contemporary Italian paintings by Canaletto, Rosalba Carriera, Cignani, Tiepolo, and Marco and Sebastiano Ricci. Among the Italian Old Masters, he had pictures by Michelangelo, Titian, Raphael, Reni, and Palladio. He also had some Dutch and Flemish paintings, including a Rembrandt and a Vermeer. His library of incunables, rare printed Italian first editions of the classics, manuscripts, and atlases was one of the finest in Europe. By January 1763, Bute and his brother, representing the King, settled on a sale price of £10,000 for Smith’s entire library and another £10,000 for his paintings and drawings. It was Consul Smith’s library of over 6,000 rare books and manuscripts — including numerous editions of women writers of the Italian Renaissance and many contemporary Italian women poets, as well — that would form the core of the library of George III. This collection of rare books and manuscripts, known as the King’s Library, would enter the British Museum in its entirety sixty years later. In 1823, sixty-one early modern Italian women writers — fifty-eight of them from Consul Smith’s library — officially joined the rolls of the world’s most famous writers, entering the British Museum among the historical treasures of the King’s Library to become part of the British nation’s heritage. In sum, the entrance of Italian women writers into the British Museum and into the literary canon of early modern Britain came about through three inaugural events: first, the founding of the British Museum itself in 1753 by an Act of Parliament; second, the founding of the King’s Library, upon the purchase by George III of the Consul’s library in 1763; and third, the donation upon the death of George III by his son, George IV, of the King’s Library in its entirety — with its rich collection of Greek, Latin, and Italian classics and its trove of early modern printed books by Italian women writers — to the British Museum in 1823.4 In the appendix to this article, I have provided an index of the Italian women’s books listed in Consul Smith’s library catalogue, the Bibliotheca Smithiana seu Catalogus librorum Josephi Smithii Angli per cognomina authorum dispositus (Venice: Pasquali, 1755), and those included in the five-volume, folio-size King’s Library catalogue, the Bibliothecae Regiae catalogus (London: Bulmer and Nicol, 1820–29).5 The index lists fifty-seven

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Italian women writers found with entries under their own names in the Bibliotheca Smithiana. Every woman author listed in Smith’s Bibliotheca is included in the King’s Library catalogue. However, rather than listing each woman whose work appears in an anthology as a separate entry, as Smith did in his Bibliotheca, the King’s Library catalogue simply lists the name of the anthology or its editor.6 Nonetheless, sixteen Italian women writers have entries of their own in the King’s Library catalogue, while a further forty-five women writers listed in the Smithiana are included in the King’s Library catalogue under the anthologies in which they appear.

Joseph Smith and the Founders of the British Museum

The story of the inclusion of Italian women writers into the Library of the British Museum begins not only with the inauguration of the institution itself in 1753, but also with the donations of its founders. The first question that arises is how did Smith’s library, with its unusually large number of women authors, fit into the project that the founders of the British Museum had originally conceived? The founders and donors of the British Museum were a formidable group, different in every respect from Joseph Smith. Among them were the world-renowned scientist Dr. Hans Sloane, the global explorer Sir Robert Banks and his sister Sarah Banks (also a noted collector), the barrister Sir William Musgrave, and the classicist and rare book collector Clayton Cracherode. The donation by Dr. Hans Sloane (1660–1753) of his library of some 50,000 books and manuscripts, which came into the British Museum upon his death, reflects his enormous international prestige and wealth.7 Royal physician to Queen Anne, George I, and George II, Sloane was a doctor of medicine with expertise in natural philosophy and phys- ics, botany and zoology, alchemy and chemistry, astronomy and optics, mechanics and engineering, and geometry and mathematics. He followed Sir Isaac Newton as President of the Royal Society and held memberships in learned academies in France, Prussia, Spain, and Germany. From Sir Joseph Banks (1743–1820) came books on botany and natural history into the British Museum.8 Already a pioneering natural- ist in his early twenties, Banks joined James Cook aboard the Endeavour

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on the captain’s first voyage around the world in 1768. President of the Royal Society for forty-two years and a world-renowned animal and plant breeder, Banks left some 11,000 titles in the sciences alone to the British Museum, representing what has been called one of the finest collections of scientific books of the time. Banks’s sister, Sarah Sophia Banks (1744–1818), left a sizeable collection of her own to the British Museum on her death.9 The printed and engraved ephemera she willed to the Museum totaled 19,000 separate items, including coins, portraits, satires, and a collection of nine volumes of broadsides and news cuttings. She also bequeathed her own collection of manuscripts and books, many of them on numismatics, heraldry, and archery, to the Museum. Sir William Musgrave (1735–1800), who came from a distinguished County Durham family, was educated for the bar though he never prac- ticed.10 A baronet, known for his extensive collection of engraved portraits, Musgrave began his lifelong career in the civil service as a Commissioner in the Customs Office. Elected a Fellow of the Royal Society in 1774 and a Fellow of the Society of Antiquaries in 1778, he was named a Trustee of the British Museum in 1783. Clayton Mordaunt Cracherode (1730–1799), elected a Trustee of the British Museum in 1784, came from a well-established family whose origins went back to the fourteenth century, though he himself possessed neither landed estates nor wealth.11 Educated at Westminster, a school that produced a long line of Regius Professors of Greek at Oxford University, Cracherode took his M.A. at that university. He was ordained an Anglican priest, and he spent the rest of his life collecting rare editions of Pindar, Aristophanes, Euripides, and Callimachus, among other Greek poets. On his death, he left the British Museum 800 rare editions of the classics, including Aldine and Juntine imprints bound in vellum, and a Greek grammar published in 1495 by the great Byzantine scholar Theodore Gaza. Among these proper and pedigreed founders of the British Museum, Consul Joseph Smith (1673–1770) was the odd man out.12 He had neither a university education nor the lineage or privilege of the British Museum Trustees. He had settled in Venice as the junior partner in the London banking firm of Williams and Smith in 1700. Eventually heading the firm,

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he secured the appointment of British Consul in Venice, holding that posi- tion from 1744 to 1760. In Venice he met and married the wealthy and successful British opera diva, Catherine Tofts, who had come to Italy in 1710.13 In the 1720s, Smith began collecting contemporary Venetian artists’ paintings both for his own pleasure and for other English art lovers for whom he acted as an agent.14 By the end of that decade, Smith was the leading dealer in the sale of Canaletto’s paintings to British buyers, and among his clients were the Duke of Richmond, the Duke of Norfork, the Duke of Beaufort, the Duke of Northumberland, and the Earl of Warwick.15 Smith also managed the sales and negotiated commissions for British collectors of Sebastiano Ricci and Rosalba Carriera.16 During his early years in Venice, he also purchased paintings by the Italian Old Masters. The Consul’s library and collection of paintings and prints made the house he purchased on the Grand Canal,17 the Palazzo Balbi, a destination for travelers from Britain making the Grand Tour. There he entertained Venice’s elite, as well as titled men and women from London, Paris, and Rome. The Consul was known to have “an eye” for the best work, he was a talented and shrewd businessman, and, to all appearances, he was becoming fabulously wealthy in his role as a dealer.18 In the 1720s and 1730s, Smith also began to indulge his interest in rare books. He could now afford to do so, and as a graduate of Westminster, the premier school in England of the day and one that had nurtured Clayton Cracherode’s passion for Pindar and the Greek gram- marians, Smith had the taste and education to do so. He bought incunables, sixteenth-century editions of the Greek and Latin classics, historical works, and books of modern Italian poets, among whom numerous women writers were represented. In the 1730s, he became a partner in the publishing house of Giambattista Pasquali, a firm ranked with Albrizzi and Zatta as one of the three most important Venetian publishers of the period.19 Nonetheless, Smith’s obscure origins and extravagant tastes for books and pictures continued to make him a subject of gossip and innuendo among the English. Horace Walpole, for one, referred to him facetiously as “the Merchant of Venice.”20 When the markets collapsed in the mid-1750s, Smith, now the British Consul in Venice, was forced to seek a buyer for his books and his

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art in order to save himself from further losses. In 1759, on the eve of the accession of George III to the throne and four years after the publication of Smith’s library catalogue, Lord Bute, who for years had served the young George III as his tutor and mentor,21 called the future king’s attention to this chance to acquire a collection of art and books that was without paral- lel.22 The Consul’s 900-page library catalogue published by Pasquali would have caught the King’s eye under any circumstances. Pasquali’s lavish pre- sentation of the Bibliotheca Smithiana, in a red morocco and gilt-trimmed volume, bristling with Italian incunables of the classics and thousands of rare imprints of fifteenth-, sixteenth-, and seventeenth-century Greek, Latin, and Italian books, was a work of art in itself. The Consul, for his part, was anxious not to sell off his library piecemeal.23 Active negotiations proceeded through Bute’s brother James Mackenzie, who corresponded regularly with Smith throughout the three years prior to the closing of the deal, from April 1759 to July 1762. At the conclusion of the sale of his books and paintings to the King, Smith wrote that he was pleased that the library he had worked for forty years to assemble would be kept together in its entirety; the library was “the Work of my Life,” he had written.24 The Consul’s books by ancient Greek writers were elegantly bound in white kid volumes with gold tooling; editions of Homer, Aristotle, Xenophon, and Plutarch were each represented in the double digits in his library. He had also collected multiple editions of Demosthenes, Sophocles, Euripides, Plato, Pindar, Herodotus, and Sappho, among other authors. And Smith’s rare editions of Cicero, Virgil, Horace, Ovid, Livy, Seneca, and other Latin authors numbered in the hundreds. Editions from the famed early presses operating in fifteenth-century Venice and Milan, imprints from the Venetian houses of Nicholas Jenson and Vindelin and Spire and the Milanese printers Zarotus and Lavagnia were well represented among Smith’s literary treasures.25 The classics of Italian literature — Dante, Petrarch, Boccaccio, Castiglione, Ariosto, and a surprising number of women writers, soon to enter the British Museum26 — were also prominently displayed in the Consul’s Library.

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Italian Women Writers in Britain before 1700

But how and when were these women’s books first discovered in England? Certainly throughout the sixteenth and seventeenth centuries the works of Italian women authors remained unknown in Britain.27 The prolific fifteenth-century Italian women writers Cassandra Fedele, Laura Cereta, and Isotta Nogarola, whose books of letters did not appear in printed editions during their own lifetimes,28 were known in England solely through the early printed encyclopedias of women, such as those in Jean Tixier de Ravisius’s De memorabilibus et claris mulieribus aliquot diversorum scripto- rum opera (1521) and Jacopo Filippo da Bergamo’s Liber de claris sceles- tisque mulieribus (1497).29 One would expect to find evidence of the direct influence of the humanist education of Italian girls in England since the schooling of learned girls in sixteenth-century England mirrored that of elite girls and women in Italy a century earlier; female classicists in England such as Margaret More Roper, Mary Clarke Basset, Mildred Cooke Cecil, Anne Bacon, and Elizabeth Hoby published letters in Latin just as had their Italian predecessors Fedele, Cereta, and Nogarola. 30 But no influence from early Italian women writers to British women writers has been found.31 Prior to the eighteenth century, Vittoria Colonna and other Italian women writers were widely known through second-hand references and hearsay. Baldasar Castiglione’s Il Cortegiano (the Courtier) and Ludovico Ariosto’s Orlando furioso had both been available in Britain, in Italian editions, since the early 1530s. The Courtier was first published in an English translation by Thomas Hoby in 1561,32 and the work found its way into England in numerous early Italian editions after 1528. Italian editions of the Furioso were equally plentiful in England after 1535, and in 1591 the work came out in an English translation by Sir John Harrington. It was through these two popular works that British readers were first introduced to Vittoria Colonna. Castiglione’s playful castigation of “signora Colonna” in the prefatory letter to the Courtier was well known.33 And Ariosto’s effu- sive praise of Colonna’s poetry in Canto 37 of the Furioso had made her practically a household name in British literary circles.

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The seventeenth-century British playwright Thomas Heywood provides us with an idea of the generally second-hand knowledge about Italian literary women in England in his Gynaikeion.34 The idiosyncratic spellings of Italian women writers’ names and the anomalous coupling of “Isota de Nugarolis” (sic) with “Modesta a Puteo” (sic) and the Queen of Sweden suggest that Heywood and his contemporaries still had not been exposed first-hand to the best known of the early Italian women writers, but instead, were pulling Italian women’s names randomly out of hand- books and book catalogues.35

Consul Smith’s Social and Intellectual Coteries

Yet, once English tourists began to make the Grand Tour to see Italy, or even to settle there, as Joseph Smith had done at the turn of the eighteenth century, they, too, came to the peninsula in search of treasure, whether of a literary, artistic, or archaeological sort.36 What then led Consul Smith — a man attuned to his times — to acquire so many books by early modern Italian women and also so many anthologies in which Italian women writers were published? To answer this question, it is necessary to consider two of the social and intellectual orbits in which Smith moved.37 First, there was the London-Venice axis of men and women — artists, poets, musicians, writers, theatre people, art collectors, and biblio- philes — who frequented Smith’s palazzo on the Grand Canal. Smith’s visitors included a growing number of Englishmen from the highest ech- elons of society, for whom the consul had negotiated the purchase of works by Venetian artists.38 Most notable was the tight-knit circle of art and book lovers who were close to John Stuart, the Earl of Bute, who would play a key role in the Consul’s sale of his library and art collection to King George III.39 Among Bute’s inner circle, the earl’s architect Robert Adam and also Bute’s portrait painter, Sir Joshua Reynolds, had been honored guests at Smith’s palazzo.40 Bute’s wife, Lady Mary, was the daughter of the eccen- tric professional writer, Lady Mary Wortley Montagu, who had been the Consul’s friend and neighbor in Venice for many years.41 A number of other successful women involved in the arts took part in Smith’s London-Venice circle, among whom were Smith’s British wife

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of thirty years, Catherine Tofts, an opera singer who had performed in London and Venice before her marriage. Through his interest in poetry, opera, drama, and the stage, Smith was well-acquainted with the theatre manager, avid translator, and poet, Luisa Bergalli.42 But the Consul was perhaps most closely connected with one of the most sought-after portrait painters in Europe, Rosalba Carriera, the Venetian artist who had painted Luisa Bergalli, and whose work the Consul had actively promoted both in Italy and England.43 After the death of his wife, Consul Smith married another woman who was a public figure in Venice, this time as a patron of the arts: Elizabeth Murray, sister of the British Resident John Murray. At the same time, the Consul kept himself informed regarding the woman-centered avant-garde literary movement that had first taken off with the founding of the Accademia degli Arcadi in 1690 in Rome. Soon, Arcadian academies were established in Venice, Milan, and other cities. The rise of the Arcadian movement in Italy, on the heels of the founding of the new Roman academy, was the signal event that contributed perhaps more than any other to the unprecedented participation of women writers in literary venues and their appearance in book catalogues, anthologies, and literary histories as authors in the early decades of the eighteenth century. While Queen Christina of Sweden is credited with having inspired the movement when she arrived in Rome in 1655, it was not until the Queen’s death some thirty years later that Giovan Mario Crescimbeni, the first president of the Accademia degli Arcadi, launched the movement.44 The Arcadians called not only for the revival of a “militant classicism,” but also for a return to the proto-feminist poetics of such sixteenth-century writers as Moderata Fonte and Laura Terracina, as Virginia Cox has characterized the movement.45 Whereas women had largely been excluded from literary academies during the first half of the seventeenth century, the Arcadian movement and its academies brought male and female writers together in collaborative communities that were reminiscent of the literary salons of sixteenth-century Italy.46 The Arcadian movement rapidly spread throughout Italy, with the result that almost every city in Italy had at least one such academy.47 Thus, by the 1730s, the inclusion of numerous women in any serious bibliography of Italian writers was to be expected.

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Figure 1. Rosealba Carriera, Self-Portrait Holding a Portrait of her Sister. 1715. Florence: Uffizi. Photo courtesy of Art Resource, New York.

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Figure 2. Portrait of Luisa Bergalli by an unknown artist. 1733. Reproduced courtesy of the Newberry Library from Maria Bandini Buti, Donne d’Italia: Poetesse e scrittrici, vol. 1 (Rome:Tosi, 1946). Bandini Buti gives the provenance of this portrait of Luisa Bergalli as the frontispiece of Bergalli’s published translation of Terence’s comedies, Le com- medie di Terenzio tradotte in verso sciolto col testo latino a fronte (Venezia: Cristoforo Zane, 1733). No artist attribution is given. This same published portrait of Bergalli from the same Venetian edition can also be seen online.

EMWJ_6_For11.indb 53 6/27/11 4:05:40 PM 54 EMWJ 2011, vol. 6 Diana Robin from from the Museum British , vol. 1 (London: Bulmer and Nicol, 1820-29). 1820-29). 1 (London: vol. Bulmer Regiae , catalogus and Bibliothecae Nicol, Figure 3. Title page and frontispiece with page and bust frontispiece of Title 3. Figure King George III Library catalogue, ofcourtesy Reproduced the Library. Newberry

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Figure 4. Title page of Joseph Smith’s Library catalogue, Bibliotheca Smithiana seu Catalogus Josephi Smithii Angli (Venice: Pasquali, 1755). Reproduced courtesy of the Newberry Library.

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The Arcadian Movement, the New Anthologies, and the Age of the Woman Writer in Italy

The discovery of Italian women writers could never have happened in Britain without the numerous catalogues, bibliographies, anthologies, and literary histories that publicized Italian women’s books in the early decades of the eighteenth century. The Bibliotheca Smithiana seu Catalogus itself shows that, by the time of its publication in 1755, the Consul owned a substantial number of such literary reference works, each heralding the published works of anywhere from a handful to hundreds of women writers.48 Smith’s purchase of books by Italian women writers and the anthologies in which they were published was no doubt stimulated by the flood of catalogues, literary histories, and anthologies that came out in print between 1708 and 1757, many of them spawned by the Arcadian academies. The Consul’s indexing in his catalogue of every one of the thirty- eight Italian women poets whom Giam Battista Recanati had published in his Academy-boosting anthology, Poesie italiane di rimatrici viventi raccolte (1716), demonstrates the palpable investment the Consul had in contemporary Italian women writers and in the brand of proto-feminism being promoted by the new academies.49 Many of the new bibliographical works and anthologies that Smith purchased for his own library called attention to the gender of their authors by grouping the women under such separate subheadings as “Poesie di Donne” and “Poesie di Donne illustre.” Some of the popular Italian anthologies of the eighteenth century, such as Recanati’s Poesie italiane and Luisa Bergalli’s two-volume Componimenti poetici, published the works of women only.50 From a publisher’s point of view, the first half of the eighteenth century appears to have been the age of the woman writer in Italy. In assembling his own library, Consul Smith was clearly well aware of this trend. Prior to 1700, all-women bibliographies existed in Italy, but they tended to be short on reliable bibliographical data.51 The new Italian catalogues served, among other things, as sale catalogues. They provided exact titles of works, their publishers, the place and date of their publication, and often the size of the volume (octavo, quarto, or folio). As a result, the authors of these new catalogues and literary histories — Crescimbeni, Bergalli, Fontanini,

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Recanati, and Gobbi, among others — played leading roles in the promo- tion and dissemination of Italian women’s writings.

Three Influential Bibliographers of Italian Women

Literary guidebooks by three Italians, published between 1726 and 1757, were especially influential in promoting Italian women’s books in England: Giuseppe Baretti’s Italian Library, Nicola Francesco Haym’s Notizia de’ libri rari, and Luisa Bergalli’s Componimenti poetici, though less directly in her case. Baretti’s and Haym’s works were published in London, Bergalli’s only in Venice. All three writers were well-known public figures in the cities in which they worked, and all were actively involved in the theater, though Baretti’s connection to the stage was only as a critic and translator. None of the literary guidebooks of these three Italians is listed in the Bibliotheca Smithiana, despite the fact that the Consul was well acquainted with Bergalli and Baretti socially. Nonetheless, it is worth noting that one of the Trustees of the British Museum, Sir William Musgrave, had not only consulted but even annotated both Haym’s Notizia de’ libri rari and Baretti’s The Italian Library for his own use.52 And it is likely that prior to the King’s purchase of the Consul’s library, his advisers — Lord Bute, James Mackenzie, and the King’s librarian, Richard Dalton — consulted the bibliographies of Baretti and Haym, taking note of their emphatic foregrounding of Italian women writers. Luisa Bergalli’s two-volume anthology, the Componimenti poetici (1726), presented the most exhaustive catalogue to date: it included poems, bibliographies, and biographies of over two-hundred female poets whose works dated from the thirteenth to the eighteenth century. Born in Venice, Bergalli studied literature with Apotolo Zeno and painting with Rosalba Carriera. Inducted as a member of the Arcadian Society in Rome and given the academy name Irminda Partenide, Bergalli translated Terence, Racine, Molière, Destouches, and Du Boccage for the Italian stage. The five plays she wrote, of which two were set to music, were performed in Venice at the San Moisè Theatre and the theatre she managed during the 1747–1748 season, the Sant’Angelo.53 She and her husband, Count Gasparo Gozzi,54 hosted a circle of artists, poets, and intellectuals

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at their country villa in Vicinale, and they also frequented Consul Joseph Smith’s palazzo on the Grand Canal, as did their mutual friends Giuseppe Baretti and Rosalba Carriera. The Turin-born literary critic and protégé of Dr. Johnson, Giuseppe Baretti, was one of the most flamboyant characters in Smith’s circle.55 Like Bergalli, Baretti had originally been drawn into the Arcadian movement by Giovan Mario Crescimbeni, the president of the Roman Accademia degli Arcadi. But he later dismissed the poetry and proto-feminist program of the Arcadian movement as “trivial” in the literary journal he published, the Frusta letteraria.56 Toward Bergalli and her work, he later expressed similar hostility, alluding to her sneeringly in his Frusta by her academy name only, “Irminda,” rather than by her real name. In London, Baretti courted such luminaries of Dr. Johnson’s circle as Bute’s protégé, Sir Joshua Reynolds, whom he persuaded to paint his portrait, and Johnson’s longtime friend and confidant, Mrs. Hester Thrale (later Piozzi), though he would ulti- mately attack her savagely in print.57 The fourteen women writers58 whom Baretti lionized in his Italian Library represent a canonical group who were all well published and well known in Italy. Among the other Italian books Baretti recommended for inclusion in his ideal library were the popular sixteenth-century Italian poetry anthologies which had been published by such renowned Venetian presses of the sixteenth century as Giolito, Valvassori, and Sessa, and featured the works of both men and women. The Drury Lane Theatre impresario and the librettist of Handel’s operas, Nicola Haym, came to London from Rome, his native city, in 1700, the same year the young Joseph Smith had arrived in Venice. Bound early to Consul Smith and the British establishment in ways Baretti and Bergalli were not, Haym published Del Tesoro Britannico in 1720, a book Smith would add to his library and one that would be among the first numismatic catalogues to enter the British Museum. In 1726, Haym, who was Secretary of the Royal Academy of Music at the time, published a four-volume handbook of Italian books, Notizia de’ Libri Rari, devoting a separate section specifically to early women writers, titled “Poesie di Donne.” 59 Here he added two seventeenth-century writers not listed in the Bibliotheca Smithiana or Baretti’s Italian Library: Arcangela Tarabotti and Sara Copio Sullam. Haym’s historical interest in the emerging public role

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of women writers was surely indebted not only to his own marriage to a professional opera singer but also to his lifelong immersion in the world of opera and the theatre.

British and Italian Women Writers in the King’s Library Catalogue

The new bibliographies and book catalogues published in Rome, Venice, and London introduced European readers and collectors to a growing number of modern and pre-modern Italian women writers in the eighteenth century. But it was the purchase of Consul Smith’s library by George III and its entrance from the King’s Library into the British Museum Library in 1823 that made a large body of work by Italian women writers available to the British public for the first time. If their publication in the anthologies is taken into consideration, the number of Italian women listed in the five folio-size volumes of the King’s Library catalogue (1820–29) almost equals the number of British women writers listed in the catalogue, A comparison between the two national groups, however, suggests a growing divergence between Italian and British women in terms of the genres in which they published. The sixty-one Italian women writers in the King’s Library catalogue fall neatly into two groups. In the first group are the sixteenth- and seventeenth-century Italian women writers who were listed under their own names in the Bibliotheca Smithiana. For the most part, these women comprised the canonical “greats” of the Italian Renaissance. These women either published in solo-authored books under their own names, or their poetry was well represented in the anthologies of the period. The second group represented in the King’s Library catalogue includes thirty-eight women who published in the early eighteenth-century anthologies under their own names and were edited by Crescimbeni, Gobbi, and Recanati (“Ciparissiano”). Born for the most part after 1690, these are women who participated in one or more of the Arcadian academies in Rome, Venice, Milan, or in one of the other cities where the movement flourished. By comparison, the British women represented in the King’s Library catalogue differ chronologically, generically, and culturally from their

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Italian counterparts. Sixty-three Englishwomen writers, none of whom appear in Smith’s Bibliotheca, are listed under their own names in the King’s Library catalogue.60 With the exception of the seventeenth-century writers Aphra Behn and Margaret Cavendish, nearly all the British women listed in the King’s Library catalogue belong to the eighteenth century. Poetry is still the largest genre for British women authors, but only twelve of the sixty-three women who are listed as English are poets. Among them, the noted African-born poet Phyllis Wheatley, who had been brought to America as a slave, is listed simply as a “Negro servant.” Drama is the next most prominent genre: Margaret Cavendish, whose twenty plays are listed by title, is indexed under her own name, as are eight other British women playwrights in the King’s Library catalogue.61 Letters and travelogues were also popular genres judging by the non-noble women writers included in the catalogue. Fanny Burney is listed under her married name, Frances d’Arblay, with her bestselling novels Evelina (1783) and Cecilia (1782), and she is the only female novelist in the catalogue. The most distinctive genre represented by eighteenth-century English women in the catalogue is that of the scholarly treatise or history. Under this rubric, Catherine Macaulay’s history of England in four volumes (1769), Elizabeth Montagu’s study of Shakespeare and the Greek and French tragedians (1777), Susanna Dobson’s history of the troubadours (1779), Elizabeth Elstob’s Anglo- Saxon grammar (1713), and Elizabeth Carter’s English translation of the Greek philosopher Epictetus with commentary and notes (1758) are found in the King’s library. Mary Wroth’s The Countesse of Montgomerie’s Urania is also included in the catalogue, while missing are such prominent early modern British writers as Mary Sidney Herbert (Countess of Pembroke), Mary Astell, Mary Wollstonecraft, and Jane Austen, among others.

Conclusion

By 1823, the emergence of early modern Italian women writers as canonical literary figures in England was well under way. This event was pre- figured by several key developments. In 1753, amid Britain’s imperial ambitions and its opening of new markets around the world, an Act of Parliament established a national museum where knowledge about the

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entire world could be collected, exhibited, and examined. As the Grand Tour became de rigueur for eighteenth-century English ladies and gentle- men, travelers to the continent were especially drawn to Italy, since its cities offered two emporia for the price of one: antiquity and its ruins and the Italian revival of Greek and Roman art and culture. At the same time, while the public’s consumption of books and reading material of all kinds increased in Britain, an interest in women writers, women’s education, and women’s rights grew exponentially in the eighteenth century. The produc- tion of library catalogues, literary histories, and anthologies promoting Italian women writers as a group — as we saw in the catalogues of Bergalli, Fontanini, Haym, and Baretti — was also a feature of the period. The birth of the Arcadian movement, and with it, the re-emergence of women as a culturally significant class in Italy was yet another hallmark of the era. Finally, and perhaps most significantly, the first half of the eighteenth century saw the emergence of such Italian women as Luisa Bergalli and Rosalba Carriera as powerful cultural entrepreneurs in their own right. To all this was added the element of chance: the sale by the British Consul in Venice, Joseph Smith, of his library to the King of England in 1763, and the entrance of the Consul’s extraordinary library, with its unique collection of Italian women authors’ books, into the British Museum.

Epilogue

And yet, as Victoria Kirkham and Pamela Benson have noted in the introductory essay to their recent book, Strong Voices, Weak History,62 the reception of women writers in national histories has long been vari- able and unstable, “their memory more quickly occluded by time” than those of their male compatriots. As we have seen, the celebrated women writers of early modern Italy entered the public sphere for the first time as treasures of the British Museum in 1823. Yet, some forty years later, when Jacob Burckhardt and John Addington Symonds published their blockbuster histories heralding the arrival of “the Renaissance” in Italy, the once-renowned Italian women poets of that era were again passed over in silence.63

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But the disappearance of the celebrated women writers of early modern Italy is not a thing of the past. It goes on — even now, in our own time. In 2009, Giles Mandelbrote and Barry Taylor, curators of the British Museum Library, published Libraries within the Library: The Origins of the British Library’s Printed Collections, an elegant and meticulously researched volume of essays, tracing the provenance of the Library’s acquisitions from the moment of the Museum’s founding. The volume also includes two essays that deal specifically with the British Museum’s accession of Consul Smith’s library.64 While I could not possibly have researched and written this article without having the Libraries within the Library at my fingertips, I was nonetheless startled to find no mention in this volume of the storied early printed books of poetry, plays, letter collections, and other writings by Italian women that came into the Museum from Consul Smith’s library. This is all the more surprising since the British Museum Library has one of the finest collections of early modern Italian women’s printed works in the world.65

Notes

1. Sponsored by the Society for the Study of Early Modern Women, Pamela Benson’s lecture “Was There an Italy for Elizabethan Women?” was delivered at the annual meeting of the Sixteenth Century Studies Conference on Saturday, October 25, 2008, in St. Louis, Missouri. A revised version of her lecture was published in “Italian in Tudor England: Why Couldn’t a Woman Be More Like a Man?” in A Companion to Tudor Literature and Culture, ed. Kent Cartwright (Oxford: Blackwell, 2010), 261–75. I want to thank the members of the Executive Committee of the Society for the Study of Early Modern Women for their invitation to present the keynote lecture at the meeting of the Society for the Study of Early Modern Women in Montreal on October 14, 2010. This paper is a revised version of my talk. I owe many thanks also to Paul Gehl, curator of the Wing Collection at the Newberry Library; Jill Gage, curator of eighteenth-century British books at the Newberry Library; and Stephen Parkin, curator of early printed Italian books in the British Library, without whose generous advice and continued assistance I could not possibly have written this essay. I am especially indebted to Al Rabil, Anne Larsen, Julie Campbell, Jane Donawerth, and the other editors of EMWJ for their many corrections and suggestions. 2. Francis Haskell, Patrons and Painters: Art and Society in Baroque Italy (New York and London: Harper & Row, 1971), 299–316; Haskell states unequivocally that Joseph Smith was the greatest art patron of his era (299).

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3. See esp. Francis Russell, John, 3rd Earl of Bute: Patron and Collector (London: Merrion Press, 2004) on John Stuart’s long and close relationship with George III as his mentor. Both John Stuart and his brother James Stuart Mackenzie were frequent visitors to Venice; they considered themselves friends of Consul Smith, and they were well acquainted with both his book and art collections. On the sale of Smith’s library to George III, see, also, Lotte Hellinga, “The Bibliotheca Smithiana,” 261–79; and Philip R. Harris, “The King’s Library,” 296–317, both in Libraries Within the Library: The Origins of the British Library’s Printed Collections, ed. Giles Mandelbrote and Barry Taylor (London: The British Library, 2009): hereafter Libraries. On Smith’s library and its contents, see, also, Haskell, Patrons and Painters, 299–310, and 393–94. 4. On their acceptance of the donation by George IV the British Museum’s Trustees recommended that the King’s Library be housed in a separate, newly constructed central gallery within the British Museum. The King’s Library was moved from that central gallery in 1998 to the new British Library. It is still housed separately there, in the six-story tower of bronze and glass at the center of the new library. 5. The massive Bibliothecae Regiae catalogus, 5 vols. (London: Bulmer and Nicol, 1820–29), will be referred to here as the King’s Library catalogue. It constitutes an official record of all the books in the library of King George III (including the King’s acquisition of Consul Joseph Smith’s library in 1763). 6. Two all-women anthologies, Luisa Bergalli’s Componimenti poetici delle piu’ illustri rimatrici d’ogni secolo, 2 vols. (Venice: Antonio Mora, 1726), and Lodovico Domenichi’s Rime diverse d’alcune nobilissime et virtuissime donne (Lucca: Busdragho, 1559) are excluded from both the Bibliotheca Smithiana and the King’s Library catalogue. It should be noted, however, that Antonio Bulifon’s Rime di cinquanta illustri poetesse (Naples 1695), which is listed in the King’s Library catalogue, is an unacknowledged reprint of Domenichi’s 1559 anthology of women. These three early anthologies served as directories of most of Italian women’s poetry published before 1740. Luisa Bergalli writes that the two chief sources from which she culled the more than 200 Italian women poets in her anthology were Lodovico Domenichi’s 1559 anthology of women poets and Giambattista Recanati’s Poesie italiane di Rimatrici Viventi (Venice: Coleti, 1716) (detto Ciparissiano) collection of women writers. It is important to note that four of the most celebrated writers in early modern Italy — namely, Maddalena Campiglia, Lucrezia Marinella, Arcangela Tarabotti, and Veronica Franco — who were not included in Smith’s or the King’s Library catalogues are included in both Bergalli’s Componimenti poetici and another premier eighteenth- century bibliography of Italian books: Niccola Haym’s Notizia de’ Libri Rari nella Lingua Italiana (London: G. Tonson and G. Watts, 1726). 7. See Alison Walker, “Sir Hans Sloane’s Printed Books in the British Library: Their Identification and Associations,” 89–97; and Giles Mandelbrote, “Sloane and the Preservation of Printed Ephemera,” 146–68, both in Mandelbrote and Taylor, eds., Libraries. 8. Rüdiger Joppien and Neil Chambers, “The Scholarly Library and Collections of Knowledge of Sir Joseph Banks,” 222–43, in Mandelbrote and Taylor, eds., Libraries.

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9. Joppien and Chambers, “The Scholarly Library,” 241–42, 400–1, in Mandelbrote and Taylor, eds., Libraries. 10. Christopher J. Wright, “Sir William Musgrave (1735–1800) and the British Museum Library,” 202–21, in Mandelbrote and Taylor, eds., Libraries. 11. Paul Quarrie, “Clayton Mordaunt Cracherode,” 187–201, in Mandelbrote and Taylor, eds., Libraries. 12. On Smith’s life, see note 2 above. See, also, Haskell, esp. “The Foreign Residents,” 299–331, in Patrons and Painters; Frances Vivian, The Consul Smith Collection: Masterpieces of Italian Drawing from the Royal Library, Windsor Castle, Raphael to Canaletto (München: Hirmer, 1989); Stuart Morrison, “Records of a Bibliophile: The Catalogues of Consul Joseph Smith and Some Aspects of his Collecting,” Book Collector 43 (1994): 27–58; Lotte Hellinga, “Il console Joseph Smith, collezionista a Venezia per il mercato inglese,” La Bibliofilia, 102 (2000): 109–21; Frances Vivian, Il console Smith, mer- cante e collezionista (Vicenza, 1971); Lotte Hellinga-Querido, “Notes on the Incunabula of Consul Joseph Smith: An Exploration,” in The Italian Book, 1465–1800, ed. Denis V. Reidy (London: British Library, 1993), 335–448; Stuart L. Morrison, “Smith, Joseph (1673–1770),” Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), 51:233–35. 13. Morrison, “Smith, Joseph,” 51:234, says that she “became mentally deranged,” but gives no further details; see, also, Vivian, Il console Smith. 14. Charles Beddington, Canaletto in England, 1746–1755 (New Haven: Yale University Press, 2006), 9–10, notes that Smith secured contracts for Canaletto with English buyers throughout the 1730s. Among these patrons were the 4th Duke of Bedford, the 3rd Duke of Marlborough, and perhaps Thomas Hollis, among many others. On Smith’s relationship with Canaletto, see also Joseph G. Links, Canaletto and his Patrons (New York: New York University Press, 1977), esp. 31–36. On Smith’s relation- ships with Rosalba Carriera, Sebastiano Ricci, and Carlo Cignani, see Haskell, Patrons and Painters, 299–331. 15. Beddington, Canaletto in England, 6, 9. 16. See Giuseppe Pavanello, ed., Rosalba Carriera “prima pittrice de l’Europa.” (Venice: Calleria di Palazzo Cini, 2007); Bernardina Sani, Rosalba Carriera Lettere, Diari, Frammenti, 2 vols. (Florence: Olschski, 1985). 17. Morrison, “Smith, Joseph,” 51:234; his villa is now known as the Palazzo Mangilli-Valmarana. 18. Beddington (Canaletto in England, 14) has suggested that Smith got rich on the commissions he made through his sales of Canaletto. 19. Haskell, Patrons and Painters, 334; Morrison, “Smith, Joseph,” 51: 234. 20. Haskell, Patrons and Painters, 301. 21. Russell, Earl of Bute, 22. 22. Ibid., 55–59, details the proceedings of the sale and the parts played by his brother James Stuart Mackenzie, the King’s envoy in Turin, and Richard Dalton, the King’s librarian, in the final purchase contract drawn up by them and Bute.

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23. Ibid., 56 n.2, refers to a passage from Smith’s will of 5 April 1761 as cited by Vivian, Il console Smith, 34: the Consul specified there that he was anxious to preserve the integrity of his library so that “some entire classes” of his collections, he wrote, “might remain united.” 24. Russell, Earl of Bute, 56. On 28 January 1763, Richard Dalton traveled to Venice to put in writing the conditions of the sale and signed receipts in copies of the Bibliotheca Smithiana for both Smith and the King; both copies are preserved in the British Museum. 25. Harris, “The King’s Library,” 296–309. Among the rarities in this library were a vellum copy of Cicero’s De Tusculanis disputationibus (Venice: Nicolas Jenson, 1472), a 1480 imprint of Plutarch’s Moralia, and an edition of Plautus’s Comoediae illustrated by the “Putti Master” (Venice: Vindelinus de Spira, 1472). 26. Harris, “The King’s Library,” and Hellinga, “The Bibliotheca Smithiana,” have well documented the treasures in Smith’s library. But neither has said a word about his extensive collections of books by Italian women authors. 27. See note 1 above: Benson, “Italian in Tudor England,” 261–75. 28. Consul Smith’s library did not contain the posthumous editions of the famous fifteenth-century Italian women writers, Cassandra Fedele, Clarissimae feminae Cassandrae Fidelis, venetae. Epistolae et orationes, ed. Jacopo Filppo Tomasini (Padua: Franciscus Bolzetta, 1636); and Laura Cereta, Laurae Ceretae Brixiensis Feminae Clarissimae Epistolae iam primum e MS in lucem productae, ed. Jacopo Filippo Tomasini (Padua: Sebastiano Sardi, 1640). Isotta Nogarola’s works did not appear in print until the nineteenth century: Isotae Nogarolae veronensis opera quae supersunt omnia, accedunt Angelae et Zenevrae Nogarolae epistolae et carmina, ed. Eugenius Abel (Vienna: apud Gerold et socios, and Budapest: apud Federicum Kilian, 1886). A single volume of fourteen pages by Cassandra Fedele, Oratio pro Bertucio Lamberto (Modena 1487, Nuremberg 1488, and Venice 1489) was published during her lifetime. 29. Other such catalogues include Giacomo Alberici’s Catalogo breve de gl’illustri et famosi scrittori venetiani (Bologna: Zoppini, 1605); Giuseppe Betussi, Libro di M. Giovanni Boccaccio delle donne illustri tradotto per Messer Giuseppe Betussi (Venice: Arrivabene, Al Segno del Pozzo, 1545); Giovanni Battista Egnazio, De exemplis illustrium virorum venetae civitatis (Venice: Nicolaum Tridentium, 1554); Battista Fregosa, Factorum dictorumque memorabilium libri IX (Venice: n. p., 1483); Francesco Quadrio, Della storia e ragione d’ogni poesia, 2 vols. (Bologna: F. Pisarri, 1739). 30. See Margaret L. King, Women of the Renaissance (Chicago: University of Chicago Press, 1991); Jane Stevenson, Women Latin Poets: Language, Gender, and Authority from Antiquity to the Eighteenth Century (Oxford: Oxford University Press, 2005); and Sarah Gwyneth Ross, The Birth of Feminism: Woman as Intellect in Renaissance Italy and England (Cambridge: Harvard University Press, 2009). 31. Jane Stevenson finds no sign of influence between Italian and British women writers in her magisterial Women Latin Poets, and in a private email message to me she

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reiterated that she has not to this day found any evidence that British women Latin poets had read or seen the Latin writings of their Italian female counterparts. 32. The first English translation of the Courtier was produced in London by the printer William Seres. 33. Castiglione had blamed Colonna for having broken her promise not to circu- late drafts of the Courtier. 34. Heywood, Gynaikeion or Nine Books of Various History Concerning Women (London: Adam Islip, 1624). Praising the “late composer of our extant Urania” (meaning Lady Mary Wroth), Heywood notes that Sir John Harrington, in his translation of the Furioso, commends “the great Italian Ladie, called Vittoria, who writ largely and learnedly in the praise of her dead husband,” and compares Colonna to “the beautiful and learned Lady Mary Countess of Pembrooke” (sic) (398). 35. A second edition of Heywood’s work, was published under the pseudonym T.H. Gent, The Generall History of Women, Containing the Lives of the most Holy and Prophane, the most Famous and Infamous in all ages (London: At the Sign of the Blew Anchor, 1657). Folios A3r-A4v contain a new preface signed only with the initials “E. B.” The preface extols “Isotta de Nugarolis” (sic), “Laura Cereta, the brave Venetian Lady, Modesta a Puteo [sic], Madam Maria Shurman [sic], the ornament of this age . . . and to sum up all in one the most accomplished both for learning and spirit, Christina Queen of Sweden.” 36. Research remains to be done in this area. We know next to nothing about British buyers and collectors of Italian women writers’ books and anthologies before Smith. Note also that many of the best known women writers in Italy were published in poetry anthologies before 1600, if not in solo-authored volumes. Print-runs of 1,000 copies of their works were not uncommon. See Diana Robin, Publishing Women: Salons, the Presses, and the Counter-Reformation in Sixteenth-Century Italy (Chicago: University of Chicago Press, 2007), xvii–xxvi; 102–23. 37. See again, Haskell, Patrons and Painters, 301. Smith had a wide circle of friends and acquaintances; among those most influential in the development of his intellectual and literary interests (though we don’t have space to explore them in this brief essay) were his learned friends at Padua whom he often visited: Abate Facciolati, professor of history, and Marchese Giovanni Poleni, also a professor at Padua, as well as an engineer and an architect. 38. For a list of Canaletto’s illustrious patrons, see, above p. 000. 39. Interestingly, Russell, Earl of Bute, 83, notes that while Bute corresponded with the Consul for many years he never went to Venice until 1768, when he was fifty-five. Russell also reports that although Smith was at the time a very old man, Bute and he got on very well and spent a great deal of time together. 40. Haskell, Patrons and Painters, 301. 41. See Isobel Grundy, Lady Mary Wortley Montagu (Oxford and New York: Oxford University Press, 1999); and Robert Halsband, The Life of Lady Mary Wortley Montagu (Oxford: Clarendon Press, 1956), 262, 265–66. Lady Mary had always been

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on good terms with her neighbor Consul Smith until his marriage to the sister of John Murray, the Resident of Venice, whom she hated, strained their relations; she wrote that Murray was “a scandalous fellow . . . despised by this government for his smuggling . . . and always surrounded with pimps and brokers, who are his privy councillors” (Halsband, 266). 42. See Claudio Mutini, “Luisa Bergalli,” Dizionario Biografico degli Italiani (Rome: Istituuto dell’ Enciclopedia italiana, 1967), 9: 63–68; see also Pamela Stewart, “Luisa Bergalli,” in Italian Women Writers: A Bio-Bibliographical Sourcebook, ed. Rinaldina Russell (Westport, CT: Greenwood Press, 1994), 50–57. Stewart cites three biographies I have not seen: Maria Mioni, Una letterata veneziana del secolo XVIII (Venice: Pellizato, 1908); Alfredo Panzini, La sventurata Irminda! (Milan: Mondadori, 1932); and Carlotta Egle Tassistro, Luisa Bergalli Gozzi: La vita e l’opera sua nel suo tempo (Rome: Bertero, 1920). See, also, Stuart Curran, “Recollecting the Renaissance: Luisa Bergalli’s Componimenti Poetici (1726),” in Pamela Joseph Benson and Victoria Kirkham, eds., Strong Voices, Weak History: Early Women Writers and Canons in England, France, and Italy (Ann Arbor: University of Michigan Press, 2005), 263–86. Curran’s article is useful but contains errors: he writes, for example, that Bergalli’s Componimenti was “never pursued beyond its first volume, whose scope ended in 1575” (264). As we know, Bergalli’s Componimenti anthologized female poets in two volumes from the year 1290 to 1726. 43. See Giuseppe Pavanello, ed., Rosalba Carriera “prima pittrice de l’Europa” (Venice: Marsilio, 2007); Bernardina Sani, ed., Rosalba Carriera: Lettere, Diari, Frammenti (Florence: Olschki, 1985). 44. On the beginnings of the Arcadian movement after 1690 see Russell, ed., Italian Women Writers, xx-xxi; Stewart, “Luisa Bergalli,” 50; Antonio Francheschetti, “Faustina Maratti Zappi (1679?-1745),” in Italian Women Writers, 226–28; and Virginia Cox, Women’s Writing in Italy, 1400–1650 (Baltimore: Johns Hopkins University Press, 2008), 228–32. On the Arcadian movement’s values see, also, Haskell, Patrons and Poets, 317–18. 45. Cox, Women’s Writing in Italy, 228–32. 46. On sixteenth-century salon culture, see my Publishing Women. 47. Russell, ed., Italian Women Writers, xx-xxi. 48. As listed in the Bibliotheca Smithiana, the Italian bibliographies and anthologies of women authors that Consul Smith collected include Agostino Gobbi, Scelta di Sonetti e Canzoni de piu` eccellenti Rimatori di’ ogni secolo, 4 vols. (Bologna: Constantino Pisarri, 1708, 1711); Giam Battista Recanati, Poesie italiane di Rimatrici Viventi Raccolte da Teleste Ciparissiano (Venice: Coleti, 1716), which contains works by thirty-eight women; two editions of Giusto Fontanini, Della eloquenza italiana, ed. Apostolo Zeno, 2 vols. (Venice: Angelo Geremia, 1728); and Della Eloquenza, 4 vols. (Rome: Rocco Bernabò, 1736), which lists ten women under the rubric “Poesie di Donne illustri,” 126–27; Giovan Mario Crescimbeni, Dell’ istoria della volgar poesia, 4 vols. (Rome: Antonio de’ Rossi, 1714); Giovan Mario Crescimbeni, Rime degli Arcadi, 9 vols. (Rome: Antonio de’ Rossi, 1716, 1722); Giovan Mario Crescimbeni, Prose degli Arcadi, 3 vols. (Rome: Antonio de’ Rossi,

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1718); [no editor] Istoria, e commentarii della volgar Poesia (Venice: Baseggio, 1730); Francesco Saverio Quadrio, Della perfetta Poesia Italiana, 2 vols. (Venice: Cristoforo Zane, 1734). Smith undoubtedly had seen Baretti’s bibliography in draft before its publication; see Giuseppe Baretti, The Italian Library (London: A. Millar, 1757), which lists fourteen women’s books by title, plus the anthologies that contain women’s works. 49. Cox, Women’s Writing in Italy, as we noted previously, has called attention to the “resurgent gynephilia” of the Arcadian movement (181), noting in late seventeenth- century Arcadian academies a “feminist revival” following the misogyny of the earlier Seicento (229–32). 50. Componimenti poetici delle piu’ illustri rimatrici d’ogni secolo, 2 vols. (Venice: Antonio Mora, 1726), as cited in note 6, above. 51. Francesco Agostino della Chiesa’s Teatro delle donne letterate con un breve discorso della preminenza e perfettione del sesso donnesco (Mondovì: Giovanni Gislandi and Giovanni Tommaso Rossi, 1620) listed hundreds of women, but it is riddled with bio- graphical and bibliographical errors and omissions. 52. Wright, “Sir William Musgrave,” 211. British Library curator Stephen Parkin tells me that there are no marks or annotations in the sections on women’s books. I haven’t yet seen the annotated copies. 53. Stewart, “Luisa Bergalli,” 50. 54. Ilaria Crotti and Ricciarda Ricorda, eds., Gasparo Gozzi: Il lavoro di un intellet- tuale nel Settecento (Padova: Antenore, 1989); Giulia Conti, “Gozzi, Gasparo,” Dizionario biografico degli italiani (Rome: Istituto dell’ Enciclopedia Italiana, 2002), 58:247–56; Mutini, “Bergalli,” 9:63–68. 55. Lacy Collison-Morley, Giuseppe Baretti and His Friends. With an Account of his Literary Friendships and Feuds in England in the Days of Dr. Johnson (London: John Murray), 1909; Mario Fubini, “Baretti, Giuseppe,” in Dizionario biografico degli italiani (Istituto dell’Enciclopedia Italiana, 1964), 6: 324–35; Desmond O’Connor, “Baretti, Marc’Antonio (1719–1789),” in Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), 3:798–802. 56. Collison-Morley, Baretti, 38. When Baretti returned to Venice, he joined the academy of the Granelleschi, in which Luisa Bergalli’s husband Gasparo Gozzi was the leading light. 57. Baretti’s volatile behavior toward Bergalli, her gynocentric Arcadian Academy, and Mrs. Thrale (Piozzi) suggest that like many men of his generation and milieu he wavered between the proto-feminist, post-Wollstonecraft attitude of Johnson’s circle (and Johnson’s blue-stocking friends) and a deep-seated mistrust of women. He was later almost convicted in London for his accidental killing of a man in the Haymarket. The incident had begun with Baretti’s slapping a woman in the face (Collison-Morley, Baretti, 202–24). 58. Also among the fourteen women poets Baretti singled out for praise in his Italian Library were Laura Battiferra, Luisa Bergalli, Maddalena Campiglia, Vittoria

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Colonna, Moderata Fonte, Lucrezia Marinella, Chiara Matraini, Isabella Morra, Isabella Sforza, Gaspara Stampa, and Laura Terracina. 59. Haym, Notizie, 2:104–5; see, also 3:48, under “Dialogo,” references to Tullia d’Aragona, Lucrezia Gonzaga, Celia Romana, Moderata Fonte, Lucrezia Marinella, Sara Copia Salam, Isabella Sforza, and Arcangela Tarabotti. For full bibliography see note 6, above. 60. This number does not include anthologized British women poets. A survey of pre-1800 anthologies of British poets is beyond the scope of this study. 61. Cavendish’s plays are listed as such in the King’s Library catalogue, though there is no evidence that her plays were either written for the public theater or were even performed in her lifetime. 62. Benson and Kirkham, Strong Voices, 1. 63. Jacob Burckhardt and John Addington Symonds were the first to introduce the public to the concept of the “Italian Renaissance” as a cultural epoch. See Burckhardt, Die Cultur der Renaissance in Italien (Basel: Schweighauser, 1860); in English, The Civilization of the Renaissance in Italy, trans. Samuel George Chetwynd Middlemore (London: C.K. Paul, 1892); Symonds, The Renaissance in Modern Europe (London, Thomas Scott, 1872); Symonds, The Renaissance in Italy: Revival of Learning (London: Smith, Elder, 1875–86); see, also, Walter Pater, The Renaissance: Studies in Art and Poetry (London: Macmillan, 1873). On the invention of the Renaissance, see, J. Barrie Bullen, The Myth of the Renaissance in Nineteenth-Century Writing (Oxford: Oxford University Press, 1994); Wallace K. Ferguson, The Renaissance in Historical Thought: Five Centuries of Interpretation (Cambridge: Harvard University Press, 1948); and John Hale, England and the Italian Renaissance (London 1954), among others. Burckhardt mentions only two Italian women writers: Cassandra Fedele and Vittoria Colonna, naming Isotta Nogarola only in a footnote. Symonds mentions only two women — Catherine of Siena and Alessandra Strozzi — as Italian Renaissance writers, naming Vittoria Colonna, only as a friend of Michelangelo. Pater mentions no women at all in his study of the period. 64. In this article I have made copious use of Lotte Hellinga’s essay, “The Bibliotheca Smithiana,” and P. R. Harris’s “The King’s Library,” the two works that focus on Consul Smith’s library and the library of George III, yet these writers make no mention of the Italian women writers’ works in those libraries. 65. I asked Stephen Parkin, the curator of Italian books at the British Library, who first introduced me to Mandelbrote and Taylor’s Libraries within the Library, why none of the contributors to the volume had mentioned Consul Smith’s large collection of books written by Italian women. He answered that apparently no one had ever noticed the large presence of women in the Bibliotheca Smithiana seu Catalogus librorum Josephi Smithii Angli. My book, Publishing Women, which describes those very sixteenth-century editions of Italian women’s books and anthologies that came into the British Library via the purchase of Smith’s library, has been accessible to the public in the open reference shelves of the British Library’s Rare Books Room and has been so since its publication in

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2007. Unfortunately, when I wrote my Publishing Women, I knew nothing about the provenance of the sixteenth-century Italian women’s books in the British Library that I had described in my book, and I had never heard of Joseph Smith or his amazing Bibliotheca Smithiana!

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An Index of Italian Women Poets in Bibliotheca Smithiana (Venice, 1755) and the King’s Library Catalogue (London, 1820-29)

Acciaiuoli, Maddalena Salvetti Constantino Pisarri, 1709, 1711. Not in Smithiana 4 vols. Hereafter Gobbi See the King’s Library Catalogue1 See KLC under Andreini, Isabella, 3 under Acciajuoli, Maddalena Salvetti entries: Fiorentina, 1 entry: —Rime: parti due. Milan, 1605 n.p. —Rime Toscane in lode di —La Mirtilla, Pastorale. Milan, Cristina di Loreno, Gran 1605 n.p. Duchesse di Toscana. Florence, —Lettere. Venice, 1612. n.p. 1590. n.p. Anguisciola, Ippolita Alessandri, Maria Buonaccorsi See Smithiana under her name, 1 entry: See Smithiana under her name, 1 entry: —Lettera a Sforza Pallavicino. —Works in Recanati, Sta nella nuova Scelta di Lettere, Giambattista. Patrizio Veneto, lib. II.3 fra gli Arcadi Teleste Ciparissiano. See KLC as cited below, in my note 3. Poesie italiane di Rimatrici This letter appears to have been in Viventi Raccolte da Teleste. the collection cited by Smith under Venice: Coleti, 1716. Hereafter the heading Sforza Pallavicino as Recanati “Lettere raccolte da Giov. Battista See KLC under Recanati.2 Galli Paccarelli. Roma . . . 1668.” Alessi, Maria Felice Aragona, Tullia D’. See Smithiana under her name, 1 entry: See Smithiana under her name, 5 works in Recanati entries: See KLC under Recanati —Dialogo della infinità di amore. Ambra, Elisabetta Girolami Venice: Giolito, 1547 See Smithiana under her name, 1 entry: —Rime della la stessa. Venice: works in Recanati Giolito, 1547 See KLC under Recanati —Rime in Gobbi, Tom. I; in Andreini, Isabella Raccolta delle Rime del Dolce See Smithiana under her name, 2 entries: [n.d., n.p.] —Works in Rime in lode di Sisto —Raccolta delle Rime Scelte di V. . .nelle Racc[olta] del Costantini diversi Autori. Tom. I (n.d. n.p. —Rime varie in Gobbi, but see this title in my list of Agostino. Scelta di Sonetti e Poetry Anthologies below, under Canzoni de più eccellenti Rimatori Dolce) di’ogni secolo. Tom. III. Bologna:

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See KLC under her name, 4 entries: Giunti, 1560 —Dialogo della infinità di amore. —Traduzione de’ Salmi Venice: Giolito, 1547 Penitenziali. Giolito, 1564 —Rime. Venice: Giolito, 1547 —Rime in Gobbi. Tom II —Il Meschino. Venice: Sessa, See KLC under Battiferra, Laura, 1 1560 entry: —translation of Il Meschino —Opere Toscane, Florence: into French by J. Decuchermois. Giunti, 1560 Romain Morin: Lyons Bergalli, Luisa Ardoini, Anna Maria No entry under Luisa Bergalli or See Smithiana under her name, 1 entry: Bergalli Gozzi in Smithiana —Works in [G.B. Crescimbeni, See KLC under Bergalli, Luisa, 1 entry: ed.] Rime degli Arcadi. Rome: —Le comedie di Terenzio, tradotte. Antonio de’ Rossi, 1716–1722. 2 vols. Venice: 1727–29. [KLC 9 vols. Hereafter Rime degli also gives her Arcadian academy Arcadi.4 [Ardoini’s academy pen pen name, Irminda Partenide] name is Getilda.] Borghesi, Flaminia See KLC under Arcadi See Smithiana under her name, 2 entires: Azzi, Faustina —Works in Gobbi, Tom. III See Smithiana under her name, 1 entry: —Works in Recanati works in Recanati See KLC under Recanati See KLC under Recanati Borghini, Maria Selvaggia Baffa, Francesca See Smithiana under her name, 3 entries: See Smithiana under her name, 1 —Works in Gobbi, Tom. IV entry: works in [Rime diverse di . . . —Rime degli Arcadia autori . . .] Racc[olte] del Domenichi. —Recanati [Borghini’s academy Tom I. [Venice: Giolito, 1546]. pen name is Filotima] Hereafter Raccolta del Domenichi See KLC under Recanati; and Arcadi. See KLC under Domenichi, Lodovico Bruni, Rosa Agnese Ballati Orlandi, Emilia See Smithiana under her name, 1 entry: See Smithiana under her name, 1 entry: —Works in Recanati —Works in Rime degli Arcadi, See KLC under Recanati Tom. VI; and Recanati. [Ballati’s Calcagnini, Caterina negli Obizzi academy pen name is Eurinda] See Smithiana under her name, 1 entry: See KLC under Arcadi; and Recanati —Works in Recanati Balletti, Teresa See KLC under Recanati See Smithiana under her name, 1 entry: Caraccioli, Giovanna —Works in Recanati See Smithiana under her name, 2 entries: See KLC under Recanati —Works in Recanati Battiferra, Laura degli Ammanati —Rime degli Arcadi. [Caraccioli’s See Smithiana under her name, 3 entries: pen name is Nosside] —Le Opere Toscane. Florence: See KLC under Recanati; and Arcadi.

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Carafa Cantelmi, Ippolita Raymond, with the revelations See Smithiana under her name, 1 entry: of Saynt Elysabeth. London: —Works in Recanati William Caxton. n.d. See KLC under Recanati Celia [Romana] Catelani, Virginia. See Smithiana under her name, 1 entry: See Smithiana under her name, 1 entry: —Lettere Amorose. Venice: —Works in Recanati Giacomo Simbeni, 1572 See KLC under Recanati See KLC under Celia, 1 entry: Cavazzoni, Verginia Bazzani Mantovana —Lettere amorose, scritte al suo See Smithiana under her name, 1 entry: amante. Venice: Jacomo Simbeni, —Works in Recanati 1572 See KLC under Recanati Cervoni, Isabella Caterina da Siena Not in Smithiana See Smithiana under her name, 1 entry: See KLC under Cervoni da Colle, —Le Epistole adunate insieme da Isabella, 1 entry: F. Bartolomeo d’Alzano. Venice: —Canzone sopra il battesimo Aldus Manutius 1500] del Gran Prencipe di Toscane. See KLC under Caterina da Siena, 7 Florence, 1592. n.p. entries: Colonna, Vittoria —Opere, nuovamente publicate da See under her name in Smithiana, 10 Girolamo Gigli, 4 Tomi. Tom. I entries: La vita della Santa. Siena: 1707 —Rime. Parma, 1538 n.p —Tom. II. L’Epistole scritte a —Rime, con esposizione di Pontefici, Cardinali, Prelati, et altre, Rinaldo Corso, pubblicate da 2 vols. Siena, 1713 e Lucca, 1721 Girolamo Ruscelli. Venice: Fratelli —Tom.III. L’Epistole scritte a Re, Sessa, 1558 Regine, Reppubliche, e diverse per- —Le Rime, ricorrette per sone secolari. Siena, 1713 Lodovico Dolce. Venice: Gabriel —Tom. IV. Il Dialogo; con le sue Giolito, 1560 orazioni, ed con alcuni de’ suoi —Works in Rime scelte raccolte particolari documenti. Lucca, dal Dolce, Tom. I, n.p., n.d. 1726. n.p. —Works in Stanze raccolte dal —Epistole adunate insiemi con Dolce, par. I, n.p., n.d. alcune orationi della medesima, —Stanze in Gobbi, Tom. I col ritratto di S. Caterina. Venice: —Stanze in Rime raccolte dal Aldo Manuzio, 1500 Domenichi, Tom. I —The Orcharde of Syon, —Lettere x. nella nuova scelta di Revelations of Seynt Katherine of Lettere, lib. 1 e 2 Sene; translated by Dane James. —[Lettere] nella raccolta del London, 1519. n.p. Manuzio, To m . I —The Lyf of St. Katherine —[Lettere] nella raccolta del of Sene; translated by Friar Porcacchi

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See KLC under Colonna d’ Avalo, —Lettere . . . nella nuova scelta Vittoria, Marchesa di Pescara, 4 di lettere, lib. I, II, III entries: —[Lettere] nella raccolta del —Rime. Parma, 1538 Manuzio, Tom. I & II —Rime. Sonetti spirituali et le sue —Sonetti XI nelle Rime raccolte stanze, et uno triumpho de la croce dall’ Atanagi, Tom. I di Christo. Venice: Bartolomeo —Sonetti due, e stanze . . . in Rime detto Imperador, 1544 scelte di diversi Autori, Tom I —Tutte le Rime. Con l’esposizione —Stanze in Stanze raccolte dal di R. Corso, ed. G. Ruscelli. Dolce, Tom. I Venice: G. B. e Melchior Sessa —Works in Raccolta delle Rime Fratelli, 1558 dal Dolce —Rime con l’aggiunta delle rime —Works in Rime raccolte dal spirituali, ed. Lodovico Dolce. Domenichi, Tom. I e II. Venice, 1560. n.p. —Works in Gobbi, Tom. I. Credo Fortini, Elisabetta (Cretti; [Note that none of the Smithiana Lisabetta Credi) entries above give publishers or See in Smithiana under Cretti, 1 entry: dates of publication] —Works in Recanati; Rime degli See KLC under Gambara, Veronica, 1 Arcadi. [Credo Fortini’s academy entry: pen name is Alinda.] —Rime e Lettere con due ritratti. See KLC under Recanati; and Arcadi. C. G. Brescia 1759 Forteguerri, Laodamia Gonzaga. Leonora d’Austria See under her name in Smithiana, 1 See Smithiana under her name, 1 entry: entry: —Lettera all’ Imperador in Lettere de’ —Works in Domenichi, Principi n’ Prenc. Tom. III Lodovico. Raccolta [di Rime See KLC under Delle Lettere di diverse di molti eccellentissimi Principi . . . , o a Principi . . . , 3 autori]. Tom. 1. Venice: Giolito vols. Venice: Francesco Ziletti, 1581 1546. Hereafter Raccolta del Gonzaga, Lucrezia Domenichi See Smithiana, under Lettere, 1 entry: See KLC under Domenichi, Lodovico, —Lettere di molte valorose Donne Raccolta di Rime diverse. 1546 (di Ortensio Landi). Venice: Gabrielli-[Capizucchi], Prudenza. Giolito, 1548; see crosslisting See under Smithiana, 1 entry: under Landi, Ortensio, Lettere di —Works in Rime degli Arcadi. molte valorose Donne. . . [Gabrielli-Capizucchi’s academy See KLC under Gonzaga, Lucrezia, da pen name is Elettra] Gazuolo. Crosslisted under Landi, See KLC under Arcadi 1 entry: Gambara, Veronica —Landi, Ortensio: Lettere in See under her name in Smithiana, 8 nome Landi di Lucrezia Gonzaga. entries: Venice: Scotto, 1552

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Lopez, Teresa Francesco —Opera omnia. Basel: Petrus See Smithiana under her name, 1 entry: Perna, 1570 —Works in Recanati Morra, Isabella di See KLC under Recanati See Smithiana under her name, 1 entry: Lusingnani, Maria Elena —Works in Rime [di diversi See Smithiana under her name, 1 entry: illustri signori napoletani . . . nuo- —Works in Recanati vamente] raccolte . . . Tom III del See KLC under Recanati Domenichi [sic]. Venice: Giolito Malipiera, Olimpia 1552. [Lodovico Dolce is the See Smithiana under her name, 1 entry: editor of this volume which was —Works in Sonnetti due nella renumbered by Giolito as To m . V ] Raccolta [di Rime di diversi Poeti See KLC under Dolce, Lodovico: see Toscani Autori del] Atanagi. Morra in his Rime di diversi illustri Venice: Lodovico Avanza, 1565. signori napoletani, Tom. III (subse- Hereafter Atanagi quently Tom. V). Venice: Giolito, See KLC under Atanagi 1552 Matraini, Chiara Minutola, Cecilia Capece (Capece See Smithiana under her name, 2 entries: Minutola, Cecilia) —Works in Gobbi. Tom. I See Smithiana under her name, 1 entry: —Lettera ad Annibale Tusco —Works in Rime degli Arcadi. nella nuova scelta di Lettere Tom. VI. (Capece Minutola’s See KLC under Matraini, Chiara, academy pen name is Egeria) Lucchese, 2 entries: See KLC under Arcadi —Works under the titles Negrisoli, Angela Bulgarini Consideratione sopra sette peniten- See Smithiana under her name, 1 entry: tiali psalmi de Re Davit. Lucca, —Works in Recanati 1586 See KLC under Recanati —Lettere con la prima, e seconda Nicolini, Teresa parte delle sue Rime. Venice, See Smithiana under her name, 1 entry: 1597. n.p. —Works in Recanati Mantova, Anna. See KLC under Recanati See Smithiana under her name, 1 entry: Odaldi, Mary Elisabetta Strozzi —Works in Recanati See Smithiana under her name, 1 entry: See KLC under Recanati —Works in Recanati Morata, Olympia Fulvia See KLC under Recanati Not in Smithiana [Orlandini, Emilia Ballati. See above See KLC under Morata, Olympia under Ballati, Emilia] Fulvia, 2 entries: Paleotti, Cristina di Nortumbria —Orationes, Dialoghi, Epistolae, See Smithiana under her name, 1 entry: Carmina, tam Latina quam —Works in Recanati Graeca. Basel: Petrus Perne, 1562 See KLC under Recanati

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Panfila, Teresa Grillo Premarini, Giulia See Smithiana under her name, 1 entry: See Smithiana under her name, 1 entry: —Works in Recanati —Works in Raccolte del Atanagi. See KLC under Recanati Tom. II Paolini, Petronilla (Petronilla Paolini See KLC under Atanagi Massimi) Rangoni, Clarina See Smithiana under her name, 3 entries: See Smithiana under her name, 1 entry: —Works in Rime degli Arcadi. —Works in Rime degli Arcadi. Tom. I Tom.VI. (Rangoni’s academy pen —Discorso, che Amore non è atto name is Ialia) a prefezionare l’animo umano See KLC under Arcadi —Works in Prose degli Arcadi Rusca, Caterina 1718 (Paolini Massimi’s acad- See Smithiana under her name, 1 entry: emy pen name is Fidalma.) —Works in Recanati See KLC under heading Arcadi; See KLC under Recanati and Crescimbeni 1718 (Prose Sforza, Isabella degli Arcadi: also listed under See Smithiana under her name, 1 entry: Crescimbeni, Giov. Maria) —Della vera tranquillita` Passerini, Gaetana dell’animo. Venice: Aldine, 1544 See Smithiana under her name, 3 entries: See KLC under her name, 1 entry: —Works in Gobbi; also in —Della vera tranquillita` Recanati; also in Rime degli dell’animo. Venice: Aldine, 1544 Arcadi. (Passerini’s academy pen Stampa, Gaspara name is Silvia) See Smithiana under her name, 1 entry: See KLC under Recanati; and under —Rime . Venice: Francesco Arcadi Piasentini (sic), 1738 Pellegrini, Giulia Serega See KLC under her name, 1 entry: See Smithiana under her name, 1 entry: —Rime di Gaspara Stampa con —Works in Recanati altre. Venice: Piacentini, 1738 See KLC under Recanati Terracina, Laura Poggiolini, Orsola Maria Trioni See Smithiana under her name, 3 entries: See Smithiana under her name, 1 entry: —Rime. Venice: Gabriel Giolito, —Works in Recanati 1548 See KLC under Recanati —Discorsi sopra tutti li primi Pozzo, Modesta canti del Furioso. Venice: Not listed in Smithiana Valvassorio, 1550 See KLC under Pozzo, Modesta, —Works in Domenichi. Raccolta Veneziana; crosslisted under Fonte, di Rime diverse di molti eccellenti Moderata: her work, Autori, Tom. I. Venice: Giolito, 1 entry: 1546 —Il Floridoro tredici canti in ottava rime. Venice, 1581. n.p.

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See KLC under Terracina, Laura: 3 —Rime degli Arcadi. Tom. VI. entries: (Viali’s academy pen name is —Rime 1548 Dafne) —Le Seste Rime 1560 See KLC under Recanati and Arcadi —Discorso sopra tutti. 1550 Zani, Teresa Tosini, Eutropia See Smithiana under her name, 1 entry: See Smithiana under her name, 1 entry: —Works in Recanati —Works in Recanati See KLC under Recanati See KLC under Recanati Zappi, Faustina Maratti Tracanelli, Elena Maria See Smithiana under her name, 2 See Smithiana under her name, 1 entry: entries: —Works in Recanati —Works in Rime degli Arcadi; See KLC under Recanati and Recanati. (Zappi Maratti’s Viali, Maria Pellegrina Rivancoli academy pen name is Aglaura.) See Smithiana under her name, 2 entries: See KLC under Recanati and Arcadi —Works in Recanati

Anthologies of Women Writers Cited in the Index

Atanagi, Dionigi. Raccolta di Rime di diversi Poeti Toscani. 2 vols. Venice: Lodovico Avanza, 1565. Bulifon, Antonio. Rime di cinquanta illustri poetesse. Naples: Antonio Bulifon, 1695. Crescimbeni, Giov. Mario. Prose degli Arcadi. 3 vols. Rome: Antonio de’ Rossi, 1718. This title is listed under Crescimbeni and also Arcadi in KLC . Crescimbeni, Giov. Mario. Istoria della volgar poesia. 6 vols. Venice: Basegio 1730–1731. Dolce, Lodovico. Rime di diversi illustri signori napoletani nuovamente raccolte. Tom. III [retitled Tom. V by Giolito]. Venice: Giolito, 1551/2 (5a); 1552 (5b); 1555 (5c). Dolce, Lodovico. Rime scelte da diversi Autori. Venice: Giolito 1553. Domenichi, Lodovico. Raccolta di Rime diverse di molti eccellentissimi Autori. Tom. I. Venice: Giolito 1546, 1549. Gobbi, Agostino. Scelta di Sonetti e Canzoni de’ piu` eccellenti Rimatori di’ ogni secolo. 4 vols. . Bologna: Constantino Pisarri 1709, 1711.

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Recanati, Giambattista (his pseudonym: Ciparissiano). Poesie italiane di Rimatrici Viventi Raccolte da Teleste Ciparissiano. Pastor Arcade. Venice: per Sebastiano Coleti, 1716. Rime degli Arcadi. 9 vols. Rome: Antonio de’ Rossi, 1716–1722. [This title is listed in KLC with no author or editor under the heading Arcadi and also Poetae italici.] Ruscelli, Girolamo. Lettere di Principi. Venice: Ziletti, 1570.

Notes to the Index

1. The first edition of the King’s Library Catalogue (Bibliothecae Regiae catalogus. London: Bulmer and Nicol, 1820–29) will be hereafter referred to as KLC. 2. Maria Buonacorsi Alessandri and the majority of the women who are listed in Smithiana under their own names are cited in the KLC only through references to the anthologies that contain their works. I have checked all Smithiana’s references to make sure that in every instance the anthologies cited in Smith contain the works of the female subjects named. 3. Anguisciola’s Lettera might be found in the collection that Smithiana lists under the author entry “Pallavicino, Sforza”: Lettere raccolte da Gio. Battista Galli Paccarelli. Roma: per il detto, 1668. The KLC lists this same item under the heading Pallavicino, Sforza, Cardinale, Lettere discorsive materia erudite raccolte da Giambattista Galli Pavarelli. 4. I have crosslisted the numerous women poets cited by Smith as published in the nine-volume poetry series Rime degli Arcadi (Rome: Antonio de’ Rossi, 1716–1722) in the KLC under the heading Arcadi. All of these women are included in Giovan Mario Crescimbeni, Dell’ istoria della volgar poesia, 6 vols. (Venice: Lorenzo Basegio 1731). I have added the women’s academy pen names in italics to make it easier to locate them both in Crescimbeni’s numerous works and in the unattributed Rime degli Arcadi, which I have not yet seen.

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