Seminars

SEMINAR SERIES 2026-27: SCHEDULE WITH ABSTRACTS

 Saturday 17 October 2026

In Person at the Foundling Museum, 1.30pm for 2pm start (BST or GMT+1)

 Abigail M. Carr

‘This poor woman’: the importance of compassion and perception for Wet Nurses of the London Foundling Hospital

From its creation in the mid-eighteenth century, the London Foundling Hospital relied on country wet nurses, supervised by volunteer inspectors, to ensure that their foundlings survived infancy. This was not without risk for either the foundlings or the nurses, particularly with respect to disease transmission. Wet nurses risked being infected with a number of disorders by their foundlings including scabies, measles, smallpox, and on rarer occasions, venereal disease. In venereal cases especially, a nurse’s only hope of receiving restitution for so debilitating an infection depended entirely on how her inspector represented her case to the Foundling Hospital. Inspectors (many of whom were women) had to balance the moral connotations of a venereal infection with their own perceptions of their nurses being ‘innocent’ victims, and their expressions of compassion were vital in constructing sympathy towards these women. Conversely, any doubt on the part of the inspector could greatly endanger the nurse both physically and socially, if she was then unable to count on the Foundling Hospital for medical treatment. This paper will therefore focus on some notable cases to explore the importance of these inter-personal relationships between nurses & their inspectors in nurses being both believed and compensated by the Foundling Hospital in the eighteenth century.

Amory S. Zhao

The Automated and the Autonomous: Frances Burney’s Scribulerations

In Frances Burney’s Evelina (1778), the eponymous heroine visits Cox’s Museum in London—a popular eighteenth-century spectacle filled with toys, clocks, and automata. Reflecting on the wonderous objects, Evelina confesses that ‘[i]t is very fine and very ingenious … but I seem to miss something’. Her awareness of a missing ‘something’ hints at the confused notion of selfhood in the eighteenth century so that the distinction between the automated object and the autonomous subject becomes strangely permeable. When a mechanical pineapple delivers a ‘concert of mechanical music’, Evelina admits that she ‘cannot explain how it was produced, but the effect was pleasing’. Hiding behind a gilded surface, these mechanical contraptions obscure human labour in artistic production, supplying the illusion of autonomy.

 

This paper examines Frances Burney’s engagement with the automata as a tool for understanding her own authorial identity amidst public expectations and material constraints. A prolific and immensely successful writer after the publication of Evelina, Burney’s friend Samuel Crisp jokes that she is ‘coin[ing] gold … by scribbling the Inventions of her own Brain—only putting down in black and white whatever comes into her own head, without labour’. Comparing writing to minting, Crisp elides the physical and affective dimension of literary labour, fetishising her work as a quantifiable commodity produced by an inanimate coining press. Burney’s letters counter this narrative as she frequently laments the mental and physical toll of her strenuous schedule during the production of Cecilia (1782). The tension between Burney and Crisp’s perception of literary production underscores the complex dynamic that contributes to the understanding of authorship and creative labour. By interrogating the automaton as an object and metaphor for gendered, literary labour, this paper explores how Burney negotiates her authorial identity in an era captivated by mechanical innovation and yet beset by technological anxieties.

Angela Escott

‘I swung and walked a great deal upon deck’; women at sea

My paper is about life for women on board ships in the late eighteenth and early nineteenth centuries. I have looked at the diaries of Mrs Sherwood, who travelled to India on her husband Captain Sherwood’s ship, and of Elizabeth Harvey who sailed on a prisoner ship to Australia in 1790. The journal of Elisabeth Tchitchagoff, wife of Admiral Pavel Vassilievitch Tchitchagov, sailing between St Petersburg and England reveals some of the alarming situations faced by passengers on board ships at that time.  A search of eighteenth-century newspapers has revealed a number of tragic accidents which affected captains’ wives who were on board with their husbands. And my own work of transcribing sea captains’ letters of the time has given a colourful background to life at sea.

Peter Radford

A rediscovered, but untitled, anonymous, and old (but undated) engraving of women playing cricket – the search for its ‘meaning’

This research will be revealed at the meeting.

 

Thursday 12 November

ZOOM 6.45pm for 7pm (GMT)

Sara Read

A Physician’s Wife? Revisiting the Biography of the German Princess Using Digital Genealogy

Recovering the early lives of early modern women is notoriously difficult: inconsistent spelling, name changes on marriage, and archival invisibility caused by their lesser status in law have long obscured women’s genealogy. Combing through ODNB entries for women in and around Restoration London reveals many for whom only the dates they were active (marked fl.) survive. For others, such as Mary Carleton, the so‑called “German Princess,” whose notoriety spanned 1663 to her execution in 1673, key dates and origins remain disputed or given only as circa. Modern scholarship has agreed with Restoration publications in assuming that Carleton’s origins are irretrievably lost.

Mary Carleton makes an ideal case study to challenge this assumption, since before her fame she was an anonymous everywoman. When my co‑author and I began the project, we had no idea what a rich and vibrant picture of Carleton’s early life would emerge. This paper demonstrates how critically deployed digital genealogy can navigate – though not always resolve – these archival frustrations. By combining fuzzy searches, variant‑name analysis, and targeted archival verification, we were able to correct entrenched biographical errors and illuminate contexts previously thought inaccessible. This approach offers a transferable model for recovering and refining the biographies of other early modern women whose lives remain obscure.

 Valerie Schutte

A Comparison of the Coronation Rings of Queens Mary I and Elizabeth I

Queen Mary I regarded the ring she received at her coronation to be her spousal ring, a ring that symbolized her commitment as a female king wedded to her realm. This presentation will begin with Mary’s death on 17 November and the funeral sermon given by Bishop John White. White’s sermon hearkened back to Mary’s coronation oath and ring as examples of her regal power and even quasi-saintliness. Immediately after Mary’s death, her coronation ring was removed and taken to Elizabeth at Hatfield House, an event frequently dramatized in film. Mary and Elizabeth had other parallels regarding their coronation rings as well. Elizabeth invoked her coronation oath and ring when her councillors suggested that she marry. Elizabeth also wore her coronation ring every day until her death, when it had to be cut off her finger because her flesh had grown around it. This presentation will show the many parallels of how Mary and Elizabeth wore and invoked their coronation rings.

Ailsa Maxwell 

Women’s Home(work): Creating Sweets and Sausages in Georgian Britain

This paper addresses women’s role in the creation of ‘luxury’ foods both domestically and commercially in Georgian Britain. Debates around whether ‘luxury’ was a value or a vice engendered a variety of responses and captured broader consumers than previously identified in historiography. Labouring and middling classes, and even children, engaged in a culture in which some foods acquired a personal value within a society in which the inculcation of polite sociability dominated. This paper looks at sweets and sausages. These two dishes have long had gendered associations with ideas about the feminisation of sweet foods and women’s historic role in meat preparation as ‘pudding wives’. Both dishes were regular fixtures on the Georgian dinner table, especially as sugar consumption increased and foreign delicacies became subsumed into British diets. Through analysis of manuscript recipes, tableware, trade cards and satirical prints, this paper looks at sweetmeats made at home as well as housekeepers who took lessons at The Pot and Pineapple, a confectioner run by Anne Gunter and her Italian husband. Historically, sausages have been seen as a comfort food. However, they emerged as an interesting affordable ‘luxury’ during the eighteenth century, often commercially produced by women.

Saturday 16 January 2027

In Person at the Foundling Museum. 1.45 for 2pm (GMT)

 Luisa Signorelli

Misogyny and Shakespeare’s Eighteenth-Century Women Critics

The eighteenth century is widely regarded as a crucial period for the development of Shakespeare criticism and, more widely, English literary studies. Amongst the many celebrated editors and critics of this period, three women authored important works on Shakespeare: Charlotte Lennox’s Shakespear Illustrated (1753–54) was the first systematic investigation of Shakespeare’s European sources, Elizabeth Montagu’s Essay on the Writings and Genius of Shakespear (1769) was frequently reprinted in Britain and translated into German, French, and Italian, and Elizabeth Griffith’s The Morality of Shakespeare’s Drama Illustrated (1775) was a popular collection of Shakespeare’s moral lessons. At a time when literary criticism was believed to be a masculine occupation, these women’s opposition to the neoclassical critical hegemony shaped their careers and reputation, but also changed the direction of Shakespeare studies towards an approach more aligned with modern critical sensibilities. Despite the success of their ideas, these women became the subject of harsh sexist attacks, and – even more detrimentally for their reputation – had their works plagiarised by better-known editors and critics. This paper will chart how eighteenth-century women critics shaped the landscape of Shakespeare studies and will interrogate the reasons for their relative neglect by past and modern scholars. Focusing especially on Montagu’s Essay, this paper will contrast the negative critical reactions to her work with the silent circulation of her ideas in the writings of her contemporaries. This paper shifts the focus from the ‘feminism’ or ‘proto-feminism’ of early women critics to how misogyny shaped their ideas and the dissemination of their works, and in doing so it identifies misogynist thinking as a deeply rooted tradition in English literary studies.

Dr Jean G-Owen

Poachers in Petticoats: ‘Unwomanly Practices in Rural Britain’.

This paper explores the overlooked history of female poachers in long eighteenth- and nineteenth-century Britain. While poaching has traditionally been viewed as an overwhelmingly masculine activity, women played significant roles as hunters, couriers, traders and participants in rural “social crime”. Drawing on historical sources alongside readings from my own creative work inspired by these hidden histories, the paper examines how female poachers disrupted contemporary ideas of femininity, legality, labour and land use.

The paper will be framed around:

  • how women’s poaching has been erased or minimised,
  • the relationship between gender and “social crime,”
  • women’s economic survival strategies,
  • the symbolic masculinity of hunting,
  • and how creative reconstruction/storytelling can recover obscured female histories.

 Teresa Jung-Sin Hsie.
The Afterlives of Lady Mary Wortley Montagu, Eliza Haywood, and the Long Eighteenth Century in Virginia Woolf’s Orlando.

This paper explores the afterlives of two eighteenth-century women writers, Lady Mary Wortley Montagu and Eliza Haywood, in the works of the modernist female author, Virginia Woolf, focusing on how their authorship shaped Woolf’s perspectives on the ideologically gendered spheres in both the eighteenth and early twentieth centuries. Attending to questions of intertextuality, the paper examines Wortley Montagu’s Turkish Embassy Letters (1716-1718), The Nonsense of Common Sense (December 1737-March 1738), and her private correspondence, reading them next to Haywood’s periodical papers, including The Female Spectator (1744-1766). Placing their works in dialogue, I examine the afterlives of their writings in Woolf’s novel, Orlando: A Biography (1928), and her polemic A Room of One’s Own (1929), analysing how Woolf reused motifs of cross-dressing, anonymous authorship, and female-exclusive spaces in the long eighteenth century. I argue that the writings and biography of Wortley Montagu and Haywood are reworked and reappropriated in Orlando, contributing to Woolf’s larger feminist project of recovering female literary history. The paper examines how Wortley Montagu and Haywood’s distinct social and literary backgrounds – the former being an aristocrat, and the latter a middle-class actress and novelist – are interrelated with notions of cross-dressing, anonymity, and women-only spaces in their works and writing practice. As the paper demonstrates, the strategies through which Wortley Montagu and Haywood negotiated the precarious balance between their public voices and personal autonomy as women writers are reused in Orlando. However, I contend that Woolf, instead of fully inheriting the narratives of her literary foremothers, often resisted and revised their authorial legacies. For instance, in Orlando’s eighteenth-century episode, notions of cross-dressing found in Wortley Montagu and Haywood’s writings are transformed into a form of critical scepticism towards eighteenth-century female authorship, and the gendered literary spheres that marginalised women’s voices both in the eighteenth and early twentieth centuries. This paper reveals the ambivalent afterlives of eighteenth-century women’s writing, complicating the modernist period’s nostalgic fascination for the long eighteenth century.

Thursday 11 February 2027

ZOOM. 6.45 for 7pm (GMT)

 Francesca Saggini

A pen to correct the imbalance. Metaphors and communicative asymmetries in Frances Burney’s ‘A Mastectomy Letter’

In 1811, the nearly sixty-year-old English writer Frances Burney, who was living in Paris with her husband, a general in Napoleon’s army during the European wars, underwent a mastectomy without anaesthetic after months of suffering. Her 1812 account in a letter to her sister in England is still one of the most powerful female cancer narratives, transforming an extreme experience into a narrative that interweaves pain, lucidity, and surprising interpretative strength. Burney’s letter not only describes the operation, but also explores the language through which she gives form to her ordeal; the cultural and religious images that surface and, above all, the silences surrounding her, the patient. These are clinical, communicative and emotional silences; the silences of the military doctors who communicate through coded gestures, excluding her; and, in counterpoint, the communicative silences that modern oncology now seeks to confront. In her communicative isolation, Burney constructs a kind of meta-diary: a deeply personal account that enables her to respond, understand and symbolically survive. Her account sheds light on highly topical issues, such as the relationship between female body and female word, the role of gender in care and the force and the fragility of doctor–female patient communication.

‘A Mastectomy’ is not merely an exemplary piece of medical self-writing: it is multi-layered, nuanced text that spans media, cultures and eras, anticipating questions that challenge us today.

 Tabitha Kenlon

A Disabling Education: Gender, Knowledge, and Disability in Fanny Burney’s Camilla

In this talk, I will explore the character of Eugenia, who occupies multiple liminal spaces. Eugenia’s body, mind, sense of self, and interactions with the world are shaped by what she is taught and what is withheld. She is not permitted to understand how her physical appearance will likely be interpreted by those outside her family, and she is given a traditionally masculine education. With too little information and too much knowledge, Eugenia must confront the reality of socially-imposed disability and navigate gendered expectations.

Through Eugenia, Fanny Burney provides an early example of what came to be called the social model of disability, a paradigm that shifts focus from the body’s medical diagnosis to the environment – Eugenia does not experience disability until other people inform her that she is disabled. By the end of the novel, Eugenia herself seems to have reached this conclusion, as she begins her planned memoirs with the observation that the primacy of beauty is created and taught by men. Even as Eugenia follows many of the disability tropes that remain in force today, Burney seems willing to question some of the conventions governing gender, education, and disability.

 Flávia Varella

Familiar Conversations and Historical Learning in Elizabeth Penrose and Elizabeth Helme

This study investigates the use of familiar conversations as a framework for national history writing in the early nineteenth century. During the eighteenth century, conversation became increasingly significant within British educational theory and domestic sociability. Conversational forms, often linked to the development of judgment, moral improvement, and social interaction, were progressively incorporated into literature for young readers. This paper analyzes Elizabeth Helme’s History of England (1804), History of Scotland (1806), and History of Rome (1808), as well as Elizabeth Penrose’s History of England (1823) and History of France (1828), to examine how these authors adapted familiar conversations for teaching national history. Helme integrated historical narration into ongoing conversations between parents and children, whereas Penrose separated narrative exposition from subsequent discussions. Despite these structural differences, both authors depicted historical learning as an active, dialogic process in which children interrupted narratives, asked questions, expressed empathy for historical figures, and debated the significance of events. Through these interactions, they learned to differentiate between past and present and to relate historical experiences to their own lives. By situating national history within domestic interactions, Helme and Penrose portrayed historical learning as a collective practice of reflection and moral development.

 Saturday 20 March 2027

In Person at the Foundling Museum. 1.45 for 2pm (GMT)

 Mary Nevin.

At the Hearth of Taste, Propriety, and Decorum: Female Consumers and the Eighteenth-Century Chimneypiece.

This paper investigates the chimneypiece within the broader context of eighteenth-century material culture, attending to questions of acquisition and reception from the position of the elite female consumer. It examines the patronage of, inter alia, Sarah Churchill, Duchess of Marlborough (1660-1744) and the Hon. Agneta Yorke (1740–1820), whose chimneypiece commissions attest to the exercise of female agency within contemporary design culture. The paper further considers commentary, drawn largely from epistolary sources, on domestic practices associated with the chimneypiece, such as the unsuitable burning of coal in the presence of guests, thereby situating the object within broader eighteenth-century discourses of polite sociability. Attention is also directed to prescriptive literature, notably Isaac Ware’s A Complete Body of Architecture (1756), which sought to banish nude statuary from chimneypieces, revealing gendered boundaries ostensibly imposed upon architectural ornament. Notwithstanding censure from architectural authorities, the practice of engaging with nude figural sculpture in domestic spaces was not uniformly circumscribed by these strictures, attested by extant chimneypiece examples and diary entries written by stone carver, Thomas Parsons of Bath (1744-1813). Taken together, these case studies position the chimneypiece as a nexus of female architectural patronage, aesthetic judgement, and social mores. In so doing, the paper contributes to ongoing scholarly efforts to recover women’s roles as active agents in the shaping of the eighteenth-century interior.

 Laura Granda-Mateu.

Ladies of Liverpool and their lost collections: natural history knowledge-making in the North West, c. 1768–1837

Recent scholarship has shown that women played significant roles in eighteenth and early nineteenth-century natural history, but their work is often unevenly preserved: collections have been dispersed, attributions obscured, and evidence embedded in male-authored scientific or horticultural texts. This paper examines women’s natural history knowledge-making in Liverpool and the North West, c. 1768–1837, through Anna Blackburne of Orford Hall, Mrs Arnold Harrison of Aigburth, Mrs Moss of Otterspool, and Margaret Roscoe of Liverpool. Rather than treating these women as four separate case studies, the paper uses them to ask how women participated in collecting, illustrating, naming and popularising botanical knowledge within a region shaped by maritime trade, family networks, gardens and the movement of specimens and images. Methodologically, it reads contemporary and later print culture — including William Roscoe’s Monandrian Plants, Pennant’s Tour in Scotland, The Gardener’s Magazine and The Orchid World — alongside correspondence, drawings, references to domestic museums, named plants and horticultural memory. These sources make it possible to follow collecting practices that rarely survive as coherent archives or intact material collections. The paper argues that these women were not merely peripheral amateurs. Their activities connected household, garden, botanic institution and print, showing how observation, exchange, drawing and domestic collection-making contributed to natural history knowledge. Margaret Roscoe’s Floral Illustrations of the Seasons (1829) is considered alongside more elusive figures, not as the paper’s central focus, but as a more visible example of botanical visual labour and popularisation, and of the tension between feminine modesty and expertise. By foregrounding what is lost as well as what remains, the paper asks how historians can reconstruct women’s knowledge-making and legacy when the material collection itself is absent. It therefore reframes Liverpool and the North West as sites where natural history depended on collaborative, mobile and often only partially remembered women’s labour.

 Eszter Kovácz. 

Anne Conway and Ancient Wisdom

Prisca sapientia or ancient wisdom was an influential Renaissance belief in a universal, God-given knowledge the traces of which were to be found in texts considered very old, such as the Chaldean Oracles (known in the 17th century as the Oracles of Zoroaster) or the Corpus Hermeticum. This theory was partly discredited by Isaac Casaubon in 1614, who demonstrated that the Corpus was a Hellenistic text, erroneously attributed to the purported Egyptian sage, Hermes Trismegistus. Then, Oxford orientalist Thomas Hyde stated in 1700 that the Oracles could not be genuine Zoroastrian philosophy. The idea of a unified ancient knowledge nonetheless remained present in certain intellectual circles, namely the Cambridge Platonists, including Conway’s mentor, Henry More.

 

To date, scholars have not connected Anne Conway (1631–1679) to the question of prisca sapientia. Though The Principles of the Most Ancient and Modern Philosophy includes references to the Kabbala denudata, these notes were likely added by the editors who posthumously published her work (1690). Several biblical verses are cited in her treatise, but they are used in an unorthodox vitalist context. Sarah Hutton and Jonathan Head have studied Origen’s influence on Conway, but the question of how she may have been influenced by other ancient sources remains unexplored.

Conway does not explicitly mention Hermes Trismegistus, nor does she cite Zoroaster or the Oracles. However, several passages in The Principles echo hermetic or pseudo-Zoroastrian themes, such as the idea that there is no annihilation in nature (Corpus Hermeticum XVI). The concept of a first intellectual principle as the fountain of all life reflects the influence of the Oracles on Conway’s work. Her tripartite ontology (comprising a Middle Being named Christ between God and the creature) is consistent with both Adam Kadmon of the Kabbalah and the second intellect of the Oracles.

In this talk, which develops preliminary results presented in 2024, I aim to show the depth of Conway’s syncretic philosophy, reconciling purported Egyptian and Persian sources with Christian and Jewish thought, even if the origin of ancient wisdom sources was already uncertain by her time.

 Thursday 29 April 2027

ZOOM. 6.45 for 7pm (BST or GMT+1)

 Elisabetta Marino.

Not Just ‘the Mother of…’: Frances Trollope and the Beginning of Her Literary Career.

In Helen Heineman’s view, Frances Trollope (1780–1863, née Milton) lived two separate lives: in her first forty-seven years, she strictly adhered to the principles of propriety, taking on the responsibilities expected of a dutiful daughter, a compliant wife, and a selfless mother.[1] This picture of conventional domesticity, however, was soon to change dramatically. Her husband’s mismanagement of the family’s financial resources, coupled with his inability to gain recognition as a barrister, led her to relocate to America in 1827 (albeit temporarily), where she joined Scottish utopian socialist Frances Wright in Tennessee. This paper will explore the beginning of her literary career, focusing on Domestic Manners of the Americans (1832), the first of a successful series of travelogues.

[1] See Helen Heineman, Frances Trollope (Twayne Publishers, 1984), 136.

Laura Giuliano

Writing Art Across Borders: British Women Travellers, Artistic Identity, and Cultural Comparison in Eighteenth-Century Italy

Between the mid- and late eighteenth century, British debates on artistic identity developed through an ongoing confrontation with continental traditions, driven by the prestige of Italian art and the experience of the Grand Tour. While scholarship has largely focused on male travellers and connoisseurs, women’s travel writing offers a valuable perspective on how artistic, national, and gendered identities were negotiated through encounters with Italy. This paper examines the correspondence and travel narratives of three British women — Lady Henrietta Pomfret, Anna Miller, and Mariana Starke — who visited Italy at different moments of the long eighteenth century and from distinct social backgrounds. Moving from aristocratic to middle-class perspectives, their writings reveal changing ways of engaging with Italian artistic culture while simultaneously reassessing Britain’s own cultural ambitions. Rather than treating art merely as an object of passive aesthetic appreciation, these authors use artistic discourse to address broader questions of cultural authority, historical memory, and national self-definition. Lady Pomfret’s private correspondence links the preservation of Italian and English antiquities to anxieties surrounding heritage and the survival of ‘old English grandeur’. Anna Miller’s Letters from Italy transform art criticism into a site of critical rivalry, challenging continental connoisseurship and asserting the legitimacy of British artistic judgement. Finally, Mariana Starke’s pragmatic writing reframes Italy as both a threatened landscape and a continuing school of art, filtering the encounter through the expertise of contemporary British artists. By reading these texts together, this paper argues that women’s travel writing actively participated in eighteenth-century debates on art and cultural legitimacy. Through direct observation, comparative reflection, and the practice of writing art across borders, these authors contributed to imagining a specifically British artistic identity.

 Adriana Marinelli (Parthenope University of Naples)

Reclaiming Parthenope: Women Travellers and the Neapolitan Myth of the Siren

Long before British grand tourists mapped its classical ruins, Naples was already named after a female voice: Parthenope. According to the Greek tradition, her body was carried ashore to become the city’s founding geography. Consequently, for nineteenth-century women travellers, entering the Neapolitan gulf meant entering a landscape that was already an ancient, gendered body. Whether through physical travel or literary imagination, the siren myth provided a distinctly female point of entry into the classical tradition. While male travellers systematically approached the Campanian landscape through a detached, antiquarian lens mediated by Virgil and the Grand Tour tradition, women travellers anchored their encounter with Naples to the figure of the siren herself to perform a deeply gendered re-reading of classical myth. Drawing on Lady Morgan’s Italy (1821) and Anna Jameson’s The Diary of an Ennuyée (1826), this paper investigates how these women negotiated a distinctive form of classical authority. While Jameson performs an intimate, lyric identification by boldly adopting Parthenope’s first-person voice, Morgan’s approach is socio-political, deploying the classical topography of Naples as framework for political critique rather than antiquarian contemplation. Ultimately, this paper argues that the myth of Parthenope enabled a distinctive female mode of classical reception, rooted in a landscape that already spoke in a female voice.

References:

Abbate Badin, Donatella. Lady Morgan’s Italy: Anglo-Irish Sensibilities and Italian Realities. Academica Press, 2007

Johnston, Judith. Anna Jameson: Victorian, Feminist, Woman of Letters. Aldershot: Scholar Press, 1997. Jameson, Anna. Diary of an Ennuyée. London: Henry Colburn, 1826.

Morgan, Lady (Sydney Owenson). Italy. 3 vols. London: Henry Colburn, 1821.

Sweet, Nanora. “‘Those Syren-Haunted Seas Beside’: Naples in the Work of Staël, Hemans, and the Shelleys”. Romanticism’s Debatable Lands, Claire Lamont and Michael Rossington eds, Palgrave Macmillan, 2007, pp. 151–63.

Walchester, Kathryn. Our Own Fair Italy: Nineteenth-Century Women’s Travel Writing and Italy, 1800–1844. Peter Lang, 2007.