Abstract

This essay examines the international Romantic sociability that was cultivated around Holland House, with a specific focus on Stael’s and Foscolo’s London experience. It also investigates Byron’s e...

Highlights

  • Leigh Hunt’s impressively documented two-volume account The Old Court Suburb; or, Memorials of Kensington (1855) devotes its central chapters (XIII–XVIII) to a detailed exploration of Holland House, which he describes as “the only important mansion, venerable for age and appearance, which is to be found in the neighbourhood of London.”[1]. In his memoirs, Hunt acknowledges the physical splendour and the intellectual significance of the most famous Whig salon of the age; that is to say of the circle’s political legacy before condemning its physical demolition, which he interprets as the end of a period of fecund literary enthusiasm and Romantic sociability

  • For Henry Richard Fox (Lord Holland) and his wife Elizabeth Vassall Fox (Lady Holland), Holland House played a major institutional role in the development of collective identities, a view which was grounded in their first-hand experience of the Grand Tour

  • The illustration showcases the Hollands’ admiration for Napoleon as they saw in him an embodiment of liberty and opposition to monarchical power, and, in its mindful celebration of six different nations (Portugal, Netherlands, France, Italy, Great Britain, and Greece), it appears executed in the spirit of Europeanness and offers a close visual equivalent for the poetics and politics of migration and transculturality, which featured well within the Holland House community.[6]

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Summary

Introduction

Leigh Hunt’s impressively documented two-volume account The Old Court Suburb; or, Memorials of Kensington (1855) devotes its central chapters (XIII–XVIII) to a detailed exploration of Holland House, which he describes as “the only important mansion, venerable for age and appearance, which is to be found in the neighbourhood of London.”[1].

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