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            <title xml:id="MRM2022">Letter to <persName ref="#Webb_Mary_younger">Mary Webb</persName>, June 9, 1819</title>
            <author ref="#MRM">Mary Russell Mitford</author>
            <editor ref="#lmw">Lisa M. Wilson</editor> 
            <sponsor>
                    <orgName>Mary Russell Mitford Society: Digital Mitford Project</orgName>
                </sponsor>
              <sponsor>University of Pittsburgh at Greensburg</sponsor>
            <sponsor>Pittsburgh Supercomputing Center</sponsor>
            <principal>Elisa Beshero-Bondar</principal>
        
            <respStmt>
               <resp>Transcription and coding by</resp>
                  <persName ref="#cay">Courtney Younes</persName>
               <persName ref="#lmw">Lisa M. Wilson</persName>
            </respStmt>
            <respStmt>
               <resp>Date last checked: <date when="2019-04-25">2019-04-25</date>
                  Proofing and corrections by</resp>
               <persName ref="#lmw">Lisa M. Wilson</persName><!-- In a comment tag after YOUR <persName> entry, indicate what you proofed and when. For example: LMW 2015-10-03:  Proofed body text against ms.  Needs revised header, did not proof. -->
            </respStmt>
         </titleStmt>
         <editionStmt>
            <edition>First digital edition in TEI, date: <date when="2017-09-10">September 10, 2017</date>. P5.</edition> 
            <respStmt>
                    <resp>Edition made with help from photos taken by</resp>
                    <orgName>Digital Mitford editors</orgName>
                </respStmt>
            <respStmt>
                    <orgName>Digital Mitford</orgName>
                    <resp> photo files: DSCF8945.jpg, DSCF8946.jpg, DSCF8947.jpg, DSCF8948.jpg, DSCF8950.jpg, DSCF8952.jpg, DSCF8953.jpg, DSCF8954.jpg, DSCF8955.jpg, DSCF8956.jpg, DSCF8957.jpg, DSCF8958.jpg, DSCF8959.jpg, DSCF8960.jpg, DSCF8961.jpg, DSCF8962.jpg<idno>
               
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            <authority>Digital Mitford: The Mary Russell Mitford Archive</authority>
            <pubPlace>Greensburg, PA, USA</pubPlace>
            <date>2013</date>
            <availability>
               <p>Reproduced by courtesy of the <orgName ref="#ReadingCL">Reading Central Library</orgName>.
               </p>
               <licence>Distributed under a Creative Commons Attribution-ShareAlike 3.0 Unported
                  License</licence>
            </availability>
         </publicationStmt>
         <seriesStmt>
            <title>Digital Mitford Letters: The Mary Russell Mitford Archive</title>
         </seriesStmt>
         
         
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                  <repository ref="#ReadingCL">Reading Central Library</repository>
                  <collection>The letters of Mary Russell Mitford, vol. 4, 1819-1823</collection>
                  <idno>qB/TU/MIT Vol. 4 Horizon No.: 1361552</idno> <!--LMW: No ff. number listed in spreadsheet.-->
               </msIdentifier>
               <head>Letter from Mary Russell Mitford to Mary Webb, <date when="1819-06-09">1819 June 9</date>. 
               <note resp="#lmw">Letter dated Wednesday evening and June 9, 1819 was a Wednesday. Mitford's Journal indicates she wrote to Mary Webb on June 9.</note>--&gt;
                 
               </head> 
              
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                                    <p>One and a half sheets of <material>paper</material>, six surfaces photographed. Sheet measures 16.5 x 23 cm. Folded in half, then in thirds</p> 
                        <p>No postmarks</p>
                     </support>
                     <condition>
                        <p>Half sheet (pages five and six) torn on right edge where wax seal was removed.</p>
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                  <sealDesc>
                     <p>Red wax seal, complete, adhered to page six.</p>
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         <handNote corresp="#pencil" medium="pencil"> Someone, apparently other than Mitford, perhaps cataloging letters and describing them, who left grey pencil marks and numbered her letters now in the Reading Central Library's collection.
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              <p>Mitford’s spelling and punctuation are retained, except where a word is split at the end of a line and the beginning of the next in the manuscript. Where Mitford’s spelling and hyphenation of words deviates from the standard, in order to facilitate searching we are using the TEI elements “choice," “sic," and “reg" to encode both Mitford’s spelling and the regular international standard of Oxford English spelling, following the first listed spelling in the Oxford English Dictionary. The long s and ligatured forms are not encoded.</p> 
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               <add hand="#pencil">
                        <del rend="crossout">about</del>
                        <add place="below">9th</add> June, 1819</add>
               <dateline>
                  <date when="1819-06-09">Wednesday Evening</date>. 
               </dateline>
               </opener>
               <p>Your kind &amp; charming letter, my own kind &amp; charming friend, gave me two pleasures<add place="above">
                        <metamark rend="caret" place="below">today</metamark>
                    </add> that of hearing from you &amp; that of not hearing from <persName ref="#Nooth_C">Miss Nooth</persName>). <q>"Humph"</q> quoth I when <persName ref="#Hill_Lucy">Lucy</persName> gave it me <q>"Here had I just got quit of my blue-stocking, just sent her a huge packet to <placeName ref="#Paris">Paris</placeName>--all the wit &amp; learning I have to spare; &amp; now have another letter to answer! I wish her pen &amp; ink were Corked up.</q> And down I <emph rend="underline">plumped</emph> the letter. Meanwhile I read one from somebody else (you always contrive to come in a good company <persName ref="#Webb_Mary_younger">Mary</persName>) &amp; then condescended to take it up again. Imagine my surprise &amp; my pleasure to find dear <persName ref="#Webb_Mary_younger">Mary Webb</persName>) in the place of <persName ref="#Nooth_C">Charlotte Nooth</persName> so you see you were right as to the similarity of the handwriting for I had quite forgotten what you said on the subject &amp; <persName ref="#Nooth_C">Miss N.</persName> was not at all in my head--You write like her in every way--only that you have a much greater knack of making people believe you love them--I suppose my dear because it happens to be true--&amp; that it is which gives your letters that preference over hers which one gives to a living flower over a dead one--the principle of life.--You must not say that I <emph rend="underline">would</emph> not come to <pb n="2" facs="DSCF8953.JPG"/>
                    <placeName ref="#Watlington">Watlington</placeName>--I was quite ready--packed--dressed--nothing wanting but the promised horse--ours never could have dragged me--<persName ref="#Mitford_Geo">Papa</persName>says he walked half the way--&amp; think of my weight. I was very much disappointed--for I wanted to see you all--particularly you &amp; dear <persName ref="#Webb_Eliza">Eliza</persName>--no you must not say--you must not think I would not come--for really &amp; truly I meant it (this it is to have a bad reputation--if I had not broken some 22 engagements this Spring to <placeName ref="#Twickenham">Twickenham</placeName> <placeName ref="#Richmond">Richmond</placeName>, <placeName ref="#London_city">London</placeName> &amp; <placeName ref="#Paris">Paris</placeName> I need not take so much pains to be <emph rend="underline">dis</emph>-believed--take warning by my fate &amp; keep all promises <persName ref="#Webb_Mary_younger">Mary</persName> mine--but breaking engagements is a family fault--<persName ref="#Russell_M">Mama</persName> never makes one without meaning to break it--&amp; my honoured <persName ref="#Mitford_Geo">Father</persName> has within one week promised to spend <date when="1819-08">August</date> at <placeName ref="#Paris">Paris</placeName> &amp; <date when="1819-08">August</date> at <placeName ref="#Bickham_village">Bickham</placeName>--How he'll settle it I don't know. Perhaps he may quiet his conscience by breaking both promises &amp; and bringing all his friends alike to come back to <placeName ref="#Watlington">Watlington</placeName>--I desire you will give my kindest love to the lovely <persName ref="#Webb_Mary_elder">Aunt Mary</persName> &amp; condole with her from the on the bed-breaking calamity--Pray did you fair ladies <quote>"sleep in strata"</quote>
                    <note resp="#lmw">Refers to a footnote in <title ref="#TomCrib">Tom Crib</title>: "The Germans sleep between two beds; and it is related that an Irish traveller, upon finding a feather bed thus laid over him, took it into his head that the people slept in strata, one upon the other, and said to the attendant, 'will you be good enough to tell the gentleman or lady, that is to lie over me, to make haste, as I want to go asleep?'."</note>--this mis-fortune looks rather suspicious--she will understand this question--&amp; so will you if you have read <title ref="#TomCrib">Tom Crib</title>--I am very glad you have read <title ref="#Mems_de_Grammont">Les Memoires de <pb n="3" facs="DSCF8954.JPG"/>Grammont</title>--It's a book one should not quite to like to recommend to a jeune &amp; gentille demoiselle--but being read there is no harm in saying how very much one admires it. Live for ever <persName ref="#Blague_HM">la blonde Blague</persName> &amp; the <rs type="person" ref="#Muskerry_Lady">Princess of Babylon</rs>--&amp; above all live <persName ref="#Hamilton_An">Count Anthony Hamilton</persName> their immortal Historian the unrivalled painter of manners &amp; of men. <persName ref="#Dryden">Dryden</persName>'s character of <persName ref="#Villiers_Geo">Buckingham</persName> is perhaps the finest passage in his works &amp; <persName ref="#Pope_Alex">Pope</persName>'s rival lives though not quite equal are the best of his good--but do either of them give you half so vivid an idea of the <q>"blest madman"</q>
                    <note resp="#lmw">Quotation from <title ref="#Absalom">Absalom and Achitophel</title> describing the character of Zimri, identified with <persName ref="#Villiers_Geo">Buckingham</persName>
                    </note> as <persName ref="#Hamilton_An">Count Hamilton</persName>'s description of him dandling <persName ref="#Muskerry_Lady">Lady Muskerry</persName>'s dropped cushions &amp; going to look for a wet nurse among the maids of Honour? I hope you read this delightful book in French--it is so untranslateable--the class of Memoires is the only one in which the French literature is richer than ours--there are perhaps a hundred publications of that sort (Most of them less witty &amp; less licentious than the <title ref="#Mems_de_Grammont">Memoires de Grammont</title>) in the language. The very best are the <title ref="#Mems_de_Sully">Memoires de Sully</title>--the pleasantest perhaps those of<persName ref="#deRouvroy">M. Le Duke de St. Simon</persName>--a wit who hated every body. These <title ref="#Mems_de_StSimon">Memoires</title>--<title ref="#Fables_Fontaine">Fontaine's Fables</title>--<persName ref="#Sevigne_Mad">Madame de Sevigné</persName>'s <title ref="#Sevigne_letters">letters</title>--All <persName ref="#Moliere">Molière</persName> &amp; all <persName ref="#Regnard">Regnard</persName> are the only things which console one for the <pb n="4" facs="DSCF8957.JPG"/> trouble of learning French. (What a nice pen I have made!!) No! I never saw <placeName ref="#Strawberry_Hill">Strawberry Hill</placeName> though I have seen the famous <placeName ref="#Strawberry_Hill">Strawberry Hill</placeName> books--all I believe--especially the edition of <title ref="#Mems_de_Grammont">Les Memoires de Grammont</title> for which the pictures were collected. I never saw <placeName ref="#Strawberry_Hill">Strawberry Hill</placeName>--but I know exactly what it is--a gingerbread castle--Modern Gothic--all gilding &amp; painted glass--smelling of courts all over--a very abomination of trumpery--I know all this--&amp; yet I had rather see <placeName ref="#Strawberry_Hill">Strawberry Hill</placeName> than any place I know of. I should like to see <persName ref="#Hamilton_An">Count Anthony</persName>'s heroes &amp; heroines--I should like to see the Kings &amp; beauties of the white rose--my dear <persName ref="#EdwardIV">Edward the Fourth</persName> &amp; <persName ref="#RichardIII">Richard the Third</persName>--I should like to see <persName ref="#Sevigne_Mad">Madame de Sevigné</persName> &amp; <persName ref="#deGrignan_Fr">Madame de Grignan</persName> I should like even to see the old China--but chiefly I should like to see the abode of <persName ref="#Walpole_Hor">Horace Walpole</persName>--the man of the last Century who pleases the best. Did you never read any of his letters? His unrivalled letters? I shall always consider it as one of the misfortunes of my life to have been born too late to be his Correspondent--Unless you have seen some of his letters there is no giving you any idea of them, the perfection of lightness, elegance, sarcasm &amp; humour as picturesque as old Tapestry--as vivid as <pb n="5" facs="DSCF8958.JPG"/>stained glass--as graceful as a Grecian scroll. There is no giving you any notion of <persName ref="#Walpole_Hor">Horace Walpole</persName>--except perhaps by negatives. He is never wise--never good--very seldom right--&amp; never dull. He is just become the fashion--to my great annoyance--I have loved him--all my days &amp; am quite provoked that <title ref="#EdinburghRev_per">Edinburgh</title> &amp; <title ref="#QuarterlyRev_per">Quarterly</title> Reviews should step in &amp; make him common.--The only consolation that I have in being born some fifty or sixty years too late to rival his old blind Correspondent <persName ref="#duDeffand">Madame du Deffand</persName>--is that I have much such another myself--not quite so good--but almost--incredibly good for a living man--very like him at all points--pleasant, humourous, graceful &amp; as courtly as <persName ref="#Walpole_Hor">Horace</persName> himself--only rather to apt to be right. This Correspondent you know is <persName ref="#Elford_SirWm">Sir William Elford</persName>--He has been here while you were away &amp; gave me a long account of the Exhibition--the picture of the year Madam, is he says <title ref="#PostOffice_EVR">the Post Office,</title>the judges prefer it to <persName ref="#Wilkie_D">Wilkie</persName>'s<note resp="#lmw">Refers to <title ref="#PennyWedding">Penny Wedding</title>
                    </note>--&amp; being by a new man, the wonder &amp; pleasure go hand in hand.--Then I have a long account of pictures from <persName ref="#Hofland_B">Mrs. Hofland</persName> who says the hanging Committee ought to be hanged--a short one from <persName ref="#Haydon">Haydon</persName>. (today) who except this <title ref="#PostOffice_EVR">Post Office,</title> <title ref="#PennyWedding">Wilkie's Picture</title>--&amp; <title ref="#MarstonM">
                        <persName ref="#Cooper_Ab">Cooper</persName>'s Battle of Marston</title> &amp; <title ref="#JacobsDream">Alstons' Jacob<unclear reason="torn">
                            <supplied resp="#lmw">'s</supplied>
                        </unclear>Dream</title>--says of all the <del rend="squiggles" unit="1" type="word">Exhibitors</del> <orgName ref="#Royal_Academy">Academy</orgName> <q>"Heaven help them!</q> Instead of having over their door in Greek <q>Let no one unskilled in Art enter here</q>, They should put <q>"lasciete ogni Speranza voi ch' entrate"</q>
                    <note resp="#lmw">
                        <title ref="#Inferno_Dante">Dante's Inferno</title>, Canto 3--&gt;</note>--which lovely line you must know <persName ref="#Haydon">Mr. Haydon</persName> has taken from from the Inscription over the Gate of Hell in <title ref="#Inferno_Dante">Dante's Inferno</title>, &amp; means literally all ye who enter leave all hope behind. So you find he is growing saucy again--&amp; well enough to paint thank Heaven.--When you come &amp; see me I write tell you all the little things which prevented my sending you to see his picture--the greatest was my intention to come to <placeName ref="#London_city">Town</placeName> &amp; take you myself--I do hope however before the summer is over to show you to him here which will be better every way.--I want most dismally to see you my own dear <persName ref="#Webb_Mary_younger">Mary</persName>--when can you come? <persName ref="#Mitford_Geo">Papa</persName> &amp; <persName ref="#Russell_M">Mama</persName> are going into <placeName ref="#Hampshire_county">Hampshire</placeName> on <date when="1819-06-13">Sunday</date> or <date when="1819-06-14">Monday</date> for the week--Now the now in your unbounded hospitality. <pb n="6" facs="DSCF8960.JPG"/> that full or empty you will will be asking me to come to you. But I can't our people are all crazed with love--<persName ref="#Russell_M">Mama</persName> would not go till I had promised her not to leave the house--so you must come &amp; see me that is certain. Cannot you come on <date when="1819-06-15">Tuesday</date> you &amp; our dear <persName ref="#Webb_Eliza">Eliza</persName>--or dear <persName ref="#Webb_Mary_elder">Aunt Mary</persName> or dear <persName ref="#Wheeler_Kate">Kate Wheeler</persName>--or even you alone? Pray do if possible &amp; let me know--or any other day that will suit you better--only let me know for fear of my prime minister <persName ref="#Hill_Lucy">Lucy</persName> hopping out. Do come &amp; spend a long day with me &amp; tell me all about <orgName ref="#James_family">the James's</orgName> &amp; a thousand things that I wish to hear. I will be very charming &amp; amusing in my turn I promise you.--You shall then <choice>
                        <sic>chuse</sic>
                        <reg>choose</reg>
                    </choice> some books. <persName ref="#Burns_Rob">Burns</persName> though you may have seen it here was not mine--I have only a trumpery small edition--<title ref="#Burns_Wks_Currie">Dr. Currie's Life</title> I had from <placeName ref="#Coley_Berks">Coley</placeName>--If <persName ref="#Valpy_Richard">Dr. Valpy</persName> has it I will borrow it for you--No book can be more charming.--I am delighted to hear so favorable an account of your dear <persName ref="#Webb_James">Father</persName>--I hope he has been very prudent this week &amp; not suffered from his hospitality--The puppies arrived very late &amp; are the greatest beauties ever seen--I have scarcely room for my kindest love to All &amp; God bless you.</p>
               <closer>Ever yours <persName ref="#MRM">M.R.M</persName>.</closer>
            <postscript>
               <p>To prove that my Correspondent is at least as courtly as <persName ref="#Walpole_Hor">Horace</persName> the well-beloved, his very fine <title ref="#Landscape_Elford_GeoIV">landscape</title> in the Exhibition this year is intended for <placeName ref="#Carlton_House">Carlton House</placeName>--The <persName ref="#GeoIV">Regent</persName> asked for it--imagine the lecture I read the luckless painter--<persName ref="#Elford_SirWm">Sir William</persName> put me in mind of <persName ref="#Webb_James">Mr. Webb</persName>--he said I should certainly come to be hanged. Are you forgiven do you think my own love? <pb n="7" facs="DSCF8952.JPG"/> Let me have just one line on <date when="1819-06-12">Saturday</date> to say you will come.</p>      
            </postscript>
          
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                            <lb/>To <persName ref="#Webb_Mary_younger">Mary Webb</persName>
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                     <occupation>literary</occupation>
                <occupation>memoirist</occupation>
             <occupation>theater</occupation>
             <occupation>actor</occupation>
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                      <note resp="#cay #lmw">Anthony or Antoine Hamilton, actor and author born in Ireland  who grew up in France. He performed in Philippe Quinault's ballet, the Triomphe de l'Amou. He became governer of Limerick and would contiuned to be inside of the goverment for the rest of his life. Mémoires du comte de Gramont is his most famous piece of writing. He also created tales that  circulated privately during Hamilton's lifetime. The first three appeared in Paris in 1730 which was ten years after he died. He mostly wrote all of these tales for his sister, for her to enjoy (wikipedia).</note> <!--put your written note in this kind of tag.-->
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                     <forename>Maximilien</forename>
                 <roleName>1st Duke of Sully</roleName>
                 <roleName>Marquis of Rosny and Nogent</roleName>
                 <roleName>Count of Muret and Villebon</roleName>
                 <roleName>Viscount of Meaux</roleName>
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                     <occupation>soldier</occupation>
              <occupation>politician</occupation>
              <occupation>ambassador</occupation>
             <birth when="1560-12-13">
                <placeName>Rosny-sur-Seine, France</placeName>
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             <death when="1641-12-22">
                <placeName>Villebon, France</placeName>
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              <note resp="#cay #lmw">Marshall of France during the Wars of Religion and the Rohan Wars. Later Chief Minister of France and Minister of Finances under Henry IV and Louis XIII. Author of the semi-fictional second-person memoirs, <title ref="#Mems_de_Sully">Mémoires de Maximilien de Béthune, duc de Sully</title>.</note>
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                 <roleName>4th Duke of York</roleName>
                 <roleName>7th Earl of March</roleName>
                 <roleName>5th Earl of Cambridge</roleName>
                 <roleName>9th Earl of Ulster</roleName>
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           <birth when="1442-04-28">
              <placeName>Rouen, Normandy</placeName>
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               <death when="1483-04-09">
                  <placeName>Westminster, Middlesex, England</placeName>
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               <occupation>military</occupation>
              <occupation>royalty</occupation>
              <note resp="#cay #lmw">House of York. King of England between 1461 and 1483 during the Wars of the Roses; briefly deposed in 1470.</note>
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                 <forename>Henrietta</forename>
                 <forename>Maria</forename>
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             <occupation>courtier</occupation>
              <note resp="#cay #lmw">'Blage the Blonde," Henrietta Maria Blague or Blagge, maid of honor to Anne Hyde, the Duchess of York, upon her marriage to James II in 1662. Daughter of Colonel Blagg.</note>
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                 <forename>Louis</forename>
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              <occupation>courtier</occupation>
              <occupation>literary</occupation>
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     <note resp="#cay #lmw">Second duke of Saint Simon. Author of <title ref="#Mems_de_StSimon">Mémoires de le Duke de Saint Simon</title>.</note>
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                     <placeName>France</placeName>
                  </birth>
                  <death when="1695-04-13"/>
                     <occupation>literary</occupation>
              <note resp="#cay #lmw">Author of <title ref="#Fables_Fontaine">Fables</title>.</note>
              <note>
                        <ref target="https://viaf.org/viaf/31998552"/>
                    </note>
           </person>
           
           <person xml:id="duDeffand" sex="f">
              <persName>Marie Anne de Vichy-Chamrond, Marquise du Deffand</persName>
              <persName>
                 <forename>Marie</forename>
                 <forename>Anne</forename>
                 <surname>
                            <nameLink>de</nameLink> <nameLink>la</nameLink> Vichy-Chamrond</surname>
                 <roleName>Marquise du Deffand</roleName>
              </persName>
              <birth when="1697">
                 <placeName>Ligny-en-Brionnais, Saône-et-Loire, France</placeName>
              </birth>
              <death when="1780-09-23">
                 <placeName>France</placeName>
              </death>
              <occupation>literary</occupation>
              <note resp="#lmw">Salonnière and close friend and correspondent of Horace Walpole. She lost her sight in 1754.</note>
              <note>
                        <ref target="https://viaf.org/viaf/41901817"/>
                    </note>
           </person>
             
           <person xml:id="deGrignan_Fr" sex="f">
              <persName>Françoise-Marguerite de Sévigné, Comtesse de Grignan.</persName>
              <persName>
                 <forename>Françoise-Marguerite</forename>
                <surname type="paternal">
                            <nameLink>de</nameLink> Sévigné</surname>
                 <roleName>Comtesse de Grignan</roleName>
              </persName>
              <birth when="1646-10-10">
                 <placeName>Paris, France</placeName>
              </birth>
              <death when="1705-08-13">
                 <placeName>Marseille, France</placeName>
              </death>
              <occupation>literary</occupation>
              <note resp="#lmw">Daughter and correspondent of <persName ref="#Sevigne_Mad">Madame de Sévigné</persName>
                    </note>
              <note>
                        <ref target="https://viaf.org/viaf/41901817"/>
                    </note>
           </person>
             
           <person xml:id="Regnard" sex="m">
                <persName>Jean-Francois Regnard</persName>
                <persName>
             <forename>Jean-Francois</forename>
             <surname>Regnard</surname>
                </persName>
             <occupation>literary</occupation>
                <occupation>poet</occupation>
                <occupation>playwright</occupation>
             <birth when="1655-02-07">
                        <placeName>Paris, France</placeName>
                    </birth>
             <death when="1709-09-04">
                        <placeName>château of Grillon, Dourdan, France</placeName>
                    </death>
                <note resp="#lmw #cay">Playwright specializing in comedy and farce, he wrote for the Théâtre des italiens and for the Comédie française. Author of several comedies frequently performed in English, including <title>Le Joueur ("The Gamester", 1696)</title> and <title>Le Légataire universel ("The residuary legatee", 1706)</title>.</note>
                <note>
                        <ref target="https://viaf.org/viaf/4935691/"/>
                    </note>
             </person>
             
           <person xml:id="Wilkie_D" sex="m">
              <persName>Sie David Wilkie</persName>
              <persName>
             <surname>Wilkie</surname>
             <forename>David</forename>
                 <roleName>Sir</roleName>
              </persName>
             <occupation>artist</occupation>
                <occupation>painter</occupation>
             <birth when="1785-11-18">
                <placeName>Fife, Scotland</placeName>
             </birth>
             <death when="1841-06-01">
                        <placeName>At sea, off Gibraltar</placeName>
                    </death>
              <note resp="#lmw #cay">Historical, genre, and portrait painter. Member of the Royal Academy. He painted portraits of George IV as Royal Limner of Scotland and later served as Principal Painter in Ordinary to King William IV and to Queen Victoria.</note>
              <note>
                        <ref target="https://viaf.org/viaf/32265939/"/>
                    </note>
           </person>
             
           <person xml:id="Rippingille" sex="m">
         <persName>Edward Villiers Rippingille</persName>
         <persName>
         <surname>Rippingille</surname>
         <forename>Edward</forename>
                <forename>Villiers</forename>
         </persName>
                <occupation>artist</occupation>
         <occupation>painter</occupation>
                <birth when="1790">
                        <placeName>King's Lynn, Norfolk, England</placeName>
                    </birth>
                <death when="1859-04-22">
                        <placeName>Swan Village railway station, Sandwell, England</placeName>
                    </death>
         <note resp="#lmw #cay">Painter in oil and watercolour. Exhibited at the Royal Academy, the Norwich Society of Artists, and the Bristol Institution. Member of the informal "Bristol School" of artists. His 1824 work "The Stage Coach Breakfast" includes Wordsworth, Coleridge, and Southey.</note>
      </person>
              
           <person xml:id="Cooper_Ab" sex="m">
                 <persName>Abraham Cooper</persName>
                 <persName>
                <surname>Cooper</surname>
                    <forename>Abraham</forename>
                 </persName>
                <occupation>artist</occupation>
                 <occupation>painter</occupation>
                <birth when="1787">
                        <placeName>Greenwich, England</placeName>
                    </birth>
                <death when="1868"/>
                 <note resp="#lmw #cay">He started off working a pointless job but then when he was twenty-two, wishing to possess a portrait of a favorite horse under his care, he bought a manual of painting, learned something of the use of oil-colours, and painted the picture on a canvas hung against the stable wall. He began to fall in love with painting. He started to began to copy prints of horses, and was introduced to Benjamin Marshall, the animal painter, who ended up taking him to his studio to teach him even more. In 1814 he exhibited his Tam O'Shanter, and in 1816 he won a prize for his Battle of Ligny. In 1817 he exhibited his Battle of Marston Moor and was made associate of the Royal Academy, and in 1820 he was elected Academician (Wikipedia).</note>
                </person>
           
           <person xml:id="Allston_W" sex="m">
              <persName>Washington Allston</persName>
              <persName>
                        <surname>Allston</surname>
                     <forename>Washington</forename>
              </persName>
                     <occupation>artist</occupation>
                        <occupation>painter</occupation>
                     <birth when="1779-11-05">
                        <placeName>Waccamaw Parish, South Carolina, U.S.A.</placeName>
                    </birth>
                     <death when="1843-07-09"/>
              <note resp="#lmw #cay">Washington was sometimes called the "American Titian" because his style resembled the great Venetian Renaissance artists since they all used simliar dramatic color contrasts. As well as His work greatly influenced the development of U.S. landscape painting. The themes of many of his paintings were drawn from literature, especially Biblical stories. Washington Allston graduated from Harvard College in 1800 and moved to Charleston, South Carolina for a short time before sailing to England in May 1801. After this he went on to visit the famous museums in the US.</note>
                </person>
              
              <person xml:id="Currie_J" sex="m">
                 <persName>James Currie</persName>
                 <persName>
                     <surname>Currie</surname>
                     <forename>James</forename>
                 </persName>
                     <occupation>literary</occupation>
              <occupation>memoirist</occupation>
              <occupation>medical</occupation>
              <occupation>physician</occupation>
                     <birth when="1756-05-31">
                        <placeName>Dumfriesshire, Scotland</placeName>
                    </birth>
                     <death when="1805-08-31">
                        <placeName>Sidmouth, </placeName>
                    </death>
                    <note resp="#lmw #cay">James tried an early attempt to set up a business in Virginia but it was a failure and after that he ended up just returning to Scotland. After qualifying as a medical doctor, he ended up establishing a successful practice in Liverpool, England. After a few years he was able to purchase a small estate in Dumfriesshire. He became a Fellow of the London Medical Society and was a founder member of the Liverpool Literary Society. He was an early advocate of the abolition of slavery and wrote several political letters and pamphlets, including one to William Pitt, although this ended up making him a number of enemies (Wikipedia).</note>        
</person>
       </listPerson>
        
        <listPlace>
           <place xml:id="Watlington">
              <placeName>
              <settlement>Watlington</settlement>
              <region>Oxfordshire</region>
              <country>England</country>
              </placeName>
             <location>
                        <geo>51.645 -1.008</geo>
                    </location>
           <note resp="#lmw #cay">Watlington is a small market town in Oxfordshire. It is the location of Mitford's long poem, <title>Watlington Hill</title>.</note>
</place>
      
          <place xml:id="Carlton_House">
             <placeName>Carlton House, St. James, London, England</placeName>
             <placeName>
                <district>St. James</district>
                <region>London</region>
                <country>England</country>
             </placeName>
             <location>
                        <geo>51.506111 -0.131667</geo>
                    </location>
             <note resp="#lmw #cay">Carlton House was a mansion in London, best known as the town residence of the Prince Regent for several decades from 1783. It faced the south side of Pall Mall, and its gardens abutted St. James's Park in the St James's district of London.</note>
          </place>
        </listPlace>
        
          <listBibl>
             <bibl xml:id="Mems_de_Grammont"> 
                   <title>Les Mémoires de Grammont</title>
                <author>Anthony Hamilton</author>
                <pubPlace>Netherlands</pubPlace>
                <publisher><!--rubric of Cologne--></publisher>
                <date when="1713"/>
                <note resp="#lmw #cay">This piece made Hamilton one of the classical writers of France. It highlights the brilliance of the London Restoration court. The work was said to have been written at Grammont's dictation, but Hamilton's share is obvious. Written between 1704 and 1710, the work was first published anonymously in 1713 (apparently without Hamilton's knowledge) under the rubric of Cologne, but it was really printed in the Netherlands. An English translation by Abel Boyer appeared in 1714 and then over 30 further editions then appeared (Wikipedia).</note>
             </bibl>
                
                   <bibl xml:id="Mems_de_Sully">
             <title>Mémoires de Maximilien de Béthune, duc de Sully: principal ministre de Henri le Grand</title>
                   </bibl>
             
         <bibl xml:id="Mems_de_StSimon">
              <title>Mémoires de le Duke de Saint Simon</title>
             <author>Louis de Rouvry</author>
              <date when="1691"/>
             Saint-Simon's Mémoires strike a most realistic note. On the one hand, he is petty, unjust to private enemies and is known as a gossip. Yet he shows a great skill for narrative and for character-drawing; he has been compared to Tacitus, and to historians such as Livy. He is at the same time not a writer who can be "sampled" easily,[1] inasmuch as his most characteristic passages sometimes occur in the midst of long stretches of quite uninteresting diatribe. His vocabulary was extreme and inventive; he is deemed to have first used the word "intellectual" as a noun, and "patriot" and "publicity" are also accredited as being introduced by him in their current usage.
         </bibl>
         
        <bibl xml:id="Fables_Fontaine">
             <title>Fontaine's fables</title>
             <author>Jean de La Fontaine</author>
             <pubPlace>Paris, France</pubPlace>
             <date when="1668"/>
             The first six books, collected in 1668, were in the main adapted from the classical fabulists Aesop, Babrius and Phaedrus. In these, La Fontaine adhered to the path of his predecessors with some closeness; but in the later collections he allowed himself far more liberty and in the later books there is a wider range of sources (Wikipedia). 
        </bibl>
         
             <bibl xml:id="Sevigne_letters">
                <title>Letters of Madame de Sevigné</title>
                <author>
                        <persName ref="#Sevigne_Mad">Madame de Sevigné</persName>
                    </author>
             <pubPlace>London</pubPlace>
             <date when="1725"/>
        These are letters from writing with her daughter for nearly thirty years. The first edition, containing twenty-eight letters or portions of letters, was published in 1725, followed by two others the next year. Pauline de Simiane, Mme de Sévigné's granddaughter, decided to officially publish her grandmother's correspondence. Working with the editor Denis-Marius Perrin of Aix-en-Provence, she published 614 letters in 1734-1737, then 772 letters in 1754. The letters were selected according to Mme de Simiane's instructions: she rejected those that dealt too closely with family matters, or those that seemed poorly written. The remaining letters were often rewritten in accordance with the style of the day. This raises a question of the letters' authenticity.</bibl>
             
             <bibl xml:id="Burns_Wks_Currie">
                <title>The Complete Poetical Works of Robert Burns: With Explanatory and Glossarial Notes; And a Life of the Author</title>
             <author>
                        <persName ref="#Burns_Rob">Robert Burns</persName>
                    </author>
             <editor>James Currie</editor>
             <pubPlace>London</pubPlace>
                <pubPlace>Edinburgh</pubPlace>
             <date when="1800"/>
             </bibl>
    
   
             <bibl xml:id="Absalom">
             <title>Absalom and Achitophel</title>
                <author>John Dryden</author>
                <pubPlace>London</pubPlace>
                <date when="1681"/>
             </bibl>
          </listBibl>

           <list sortKey="art">
              <item/>
            <figure xml:id="PostOffice_EVR" type="painting" rend="oil">
                 <bibl>
                 <title>The Post Office</title>
                 <author>
                            <persName ref="#Rippingille">Edward Villiers Rippingille</persName>
                        </author>
                 <date when="1819"/> 
                    <note resp="#lmw"><!--Lotherton Hall, Leeds Museums and Galleries. https://www.artuk.org/discover/artworks/the-post-office-37639-->
</note>
                 </bibl>
              </figure>
                 
<figure xml:id="BattleMarstonM" type="painting" rend="oil">
   <bibl>
      <title>The Battle of Marston Moor in 1619</title>
        <author>
                            <persName ref="#Cooper_Ab">Abraham Cooper</persName>
                        </author>
              <date when="1819"/> 
                 <note resp="#lmw"/>
              </bibl>
</figure>
 
              <figure xml:id="JacobsDream" type="painting" rend="oil">
            <bibl>
                 <title>Jacob's Dream</title>
                 <author>
                            <persName ref="#Allston_W">Washington Allston</persName>
                        </author>
                 <date when="1819"/>
                 <note resp="#lmw"><!--cay: This painting is a scene, from the biblical book of Genesis, 28:12-15, depicting Jacob asleep in the centre with three angels standing at left, one at right, two beyond him and one flying in the centre; the horizon is lined with angels. The greatest commentator on the picture was William Wordsworth, some of whose lines in his poem 'Composed upon an Evening of Extraordinary Splendour and Beauty' of 1817 were inspired by Allston’s picture (1). --></note>
                 </bibl>
              </figure>
              
              <figure xml:id="PennyWedding" type="painting" rend="oil">
                    <bibl>
                 <title>The Penny Wedding</title>
                 <author>
                            <persName ref="#Wilkie_D">David Wilkie</persName>
                        </author>
                       <date when="1819"/>
                 <note resp="#lmw #cay">
                    <!--cay: 'The Penny Wedding' is by Wilkie, a Fife-born painter. Also called "Scotch Wedding." A penny wedding was one where the guests were expected to bring their own food and drinks to the church or hall to celebrate after the ceremony. It is a custom that survived in the West Highlands until recently.-->
                        </note>
                    </bibl>
              </figure>
             
             <figure xml:id="Landscape_Elford_GeoIV">
                <bibl>
                          <title>Landscape</title>
                 <author>
                            <persName ref="#Elford_SirWm">William Elford</persName>
                        </author>
                <date when="1819"/>
                <note resp="#lmw"><!--lANDSCAPE. catalog #176."There is an inscription of this back of this canvas reports that it was presented to George IV in August 1819. This kind of background information would usually introduce a work of far less quality that this landscape, with its fresh and subtle observation of the effect of a rainy Devon day. The light and effect of moist air is rendered with a precise and professional-looking technique. The motif cannot be confidently identified but may be near Sheepstor" (1). --></note>
                </bibl>
             </figure>
           </list>

     </back>
 
  </text>
</TEI>
