![]() ![]() “The parental and artistic response in the 1790s to Penelope Boothby’s untimely death reveals the impact of Romantic ideas on constructions of childhood as a period separate from adulthood, and blessed with innocence and openness to natural and spiritual truths. Dodgson – Xie Kitchin as Penelope Boothby, standing (1875-1876) ![]() I show two 19th century mezzotint prints downloaded from the National Portrait Gallery (references NPG D21649 and NPG D31993, licensed under CC BY-NC-ND 3.0):Ĭharles L. Ashbourne Hall was leased in 1814, then Boothby settled in Boulogne in 1815 and died there in 1824.Īs says Mitchell: “ Penelope Boothby’s cultural afterlife did not end with her father’s poetical tribute.” Several artists emulated Penelope’s portrait by Sir Joshua Reynolds. Sir Brooke Boothby lived in an extravagant way and finally became ruined. Indeed, eight of these poems are reproduced on Sonnet Central, and I find them moving, but far from exceptional. According to Mitchell, some reviews were “measured but sympathetic”, but another stressed the “sameness and insipidity of sound” of the sonnets. In 1796, Brooke Boothby published a collection of sonnets expressing his grief: Sorrows. Crossley are available on the website of the The Courtauld Institute of Art, London, see references B47/2057 and B47/3058. Two old-fashioned argentic black & white photographs by F. Thomas Banks – monument to Penelope Boothby (1793) (3) ![]()
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