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#KeatsShelley200 #KS200 #OnThisDay
In the preface to the first edition of ‘Adonais’, Shelley records the death of Keats as occurring on ‘the----of----1821” because he didn’t know the exact day when Keats died. However, in later editions, it is (incorrectly) stated that “John Keats died of a consumption, in his twenty-fourth year on the 27th December 1820.”
The Keats-Shelley House would like to wish everybody a Merry Christmas.
#KeatsShelley200 #KS200
#OnThisDay in 1820, 200 years ago, Joseph Severn wrote a letter, probably addressed to John Taylor, John Keats’s publisher, although it remained unfinished, to inform him of Keats’s worsening health in Rome:
"My dear Sir, Keats has changed somewhat for the worse—at least his mind has much, very much—and this leaves his state much the same and quite as hopeless. Yet the blood has ceased to come; his digestion is better, and but for a cough he must be improving, that is, as respects his body. But the fatal prospect of consumption hangs before his mind's eye, and turns everything to despair and wretchedness. He will not hear a word about living—nay, I seem to lose his confidence by trying to give him this hope [for his knowledge of internal anatomy enables him to judge of every change accurately, and adds largely to his torture]. He will not think his future prospects favourable. He says the continued stretch of his imagination has already killed him. He will not hear of his good friends in England, except for what they have done—and this is another load ; but of their high hopes of him, his certain success, his experience, he will not hear a word. Then the want of some kind hope to feed his voracious imagination."
Tonight's concert is brought to you from the Keats-Shelley House by operatic tenor Christian Collia and pianist Giacomo Refolo, and attended by Jill Morri, CMG, Her Majesty’s Ambassador to Italy and San Marino, and Keats-Shelley200 Ambassador. The concert marks the bicentenary of John Keats's stay in Piazza di Spagna and is part of our Keats-Shelley200 programme of virtual events.
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Il concerto di stasera è stato organizzato dalla Keats-Shelley House, eseguito dal tenore Christian Collia e dal pianista Giacomo Refolo, e durante l'esecuzione era presente l'Ambasciatrice britannica in Italia Jill Morris, CMG. Il concerto segna il bicentenario del soggiorno di John Keats a Piazza di Spagna ed è parte di Keats-Shelley200, il nostro programma di eventi virtuali.
Tonight's concert is brought to you from the Keats-Shelley House by operatic tenor Christian Collia and pianist Giacomo Refolo, and attended by Jill Morri, CMG, Her Majesty’s Ambassador to Italy and San Marino, and Keats-Shelley200 Ambassador. The concert marks the bicentenary of John Keats's stay in Piazza di Spagna and is part of our Keats-Shelley200 programme of virtual events.
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Il concerto di stasera è stato organizzato dalla Keats-Shelley House, eseguito dal tenore Christian Collia e dal pianista Giacomo Refolo, e durante l'esecuzione era presente l'Ambasciatrice britannica in Italia Jill Morris, CMG. Il concerto segna il bicentenario del soggiorno di John Keats a Piazza di Spagna ed è parte di Keats-Shelley200, il nostro programma di eventi virtuali.
👉👉👉 DON'T MISS OUR 'BRIGHT STAR' KEATS-SHELLEY 200 CONCERT, TODAY 23rd DECEMBER at 18:30 CET 👈👈👈
Don't forget to enjoy our 'Bright Star' concert of songs inspired by the verse of Keats and Shelley, which have been put to music by late nineteenth/early twentieth-century composers. The concert will be available for streaming on YouTube (via this link https://bit.ly/37GlcoK) from today, Wednesday 23rd December, at 6:30 pm CET. You can also watch it as a live stream here on our page, although the concert is best enjoyed on YouTube for ultra HD quality.
We also remind our visitors and followers that the Keats-Shelley House gift shop is open until 6 p.m. today. If you cannot reach us at 26, Piazza di Spagna, please take a look at our online shop (https://ksh.roma.it/shop), whose books, jewellery and bespoke merchandise are inspired by the Romantic poets who lived in Italy.
The Keats-Shelley House gift shop will reopen regularly on Thursday 7th January 2021. At the moment we still don't know whether we will be in a position to reopen the museum as well, but we will let you know promptly once the situation is clarified.
We would like to take this opportunity to wish everybody a merry Christmas and a happy new year.
🎄🎁🎆🎊🥂
Keats-Shelley200 Ambassador Rosie Cavaliero was asked to read some of her favourites from the Essential Poems of John Keats and Percy Bysshe Shelley at the launch party of Keats-Shelley200 on 6 February 2020. Rosie chose to read Lines 6-24 of Book I of Keats's 'Endymion':
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o’er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
’Gainst the hot season; the mid forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven’s brink.
Keats-Shelley200 Ambassador Rosie Cavaliero was asked to read some of her favourites from the Essential Poems of John Keats and Percy Bysshe Shelley at the launch party of Keats-Shelley200 on 6 February 2020. Rosie chose to read Lines 6-24 of Book I of Keats's 'Endymion':
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o’er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
’Gainst the hot season; the mid forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven’s brink.
#KeatsShelley200 #KS200
What is the anagram of John Keats?
Read below what Charles Brown made up in a letter he wrote to Keats #onthisday in 1820, 200 years ago. In this letter, Brown's tone was very cheerful as he was responding to Keats's hopeful letter dated 30 November, and thus he was still unaware of his friend's relapse only ten days earlier.
"My dear Keats,
"Not two hours since your letter from Rome, dated 30th Nov., came to me, and as tomorrow is post-night, you shall have the answer in due course. And so you still wish me to follow you to Rome? and truly I wish to go; nothing detains me but prudence. Little could be gained, if anything, by letting my house at this time of the year, and the consequence would be a heavy additional expense which I cannot possibly afford, unless it were a matter of necessity, and I see none while you are in such good hands as Severn's. As for my appropriating any part of remittances from George, that is out of the question, while you continue disabled from writing. Thank God, you are getting better! Your last letter, which I so gravely answered about 4th Dec, showed how much you had suffered by the voyage and the cursed quarantine. Keep your mind easy, my dear fellow, and no fear of your body. Your sister, I hear, is in remarkably good health. The last news from George (already given to you) was so far favourable that there were no complaints. Everybody next door is quite well. Taylor has just returned to town. I saw him for a few minutes the other day, and had not time to put some questions which I wished, but I understand your poems increase in sale. Hunt has been very ill, but is now recovered. All other friends are well.
[...] What an odd being you are: because you and I were so near meeting twice, yet missed each other both times, you cry out 'there was my star predominant;' why not mine (C. B.'s) as well? But this is the way you argue yourself into fits, of the spleen. If I were in Severn's place, and you insisted on ever gnawing a bone, I'd lead you the life of a dog. What the devil should you grumble for? Do you recollect my anagram on your name? How pat it comes now to Severn! My love to him and the said anagram, 'Thanks Joe!' If I have a right guess, a certain person next door is a little disappointed at not receiving a letter from you, but not a word has dropped. She wrote to you lately, and so did your sister.
"Yours most faithfully,
"Charles Brown"
#TheImmortalDinner
The results of the Keats-Shelley200 Immortal Dinner competition are in! Oscar Wilde and Samuel Taylor Coleridge won joint first place and will each get a seat next to Keats at the famous literary gathering, which was originally hosted by artist Benjamin Robert Haydon.
The event, now known as 'the Immortal Dinner', took place on 28th December 1817 and included not only John Keats, but also William Wordsworth, Charles Lamb and William Hazlitt among their guests. Thanks to later accounts, we know that the mood of the evening was of ‘excitement and tension, conviviality and laughter’ and that the conversation flowed from literature, politics, science to exploration, touching upon contemporary issues like Lord Elgin’s removal of the marble frieze from the Parthenon in Athens.
Follow the link to see all the other nominated guests:
https://bit.ly/3ardJf5
#KeatsShelley200 #KS200
#OnThisDay in 1820, 200 years ago, Joseph Severn started to write a letter to Fanny Brawne to tell her about John Keats's worsening health. He wouldn't finish the letter till the 17th, as Keats was so seriously ill that Severn couldn't leave him alone even for a moment:
"My dear Madam,
I fear poor Keats is at his worst. A most unlooked-for relapse has confined him to his bed, with every chance against him. It has been so sudden upon what I thought convalescence, and without any seeming cause, that I cannot calculate on the next change. I dread it, for his suffering is so great, so continued, and his fortitude so completely gone, that any further change must make him delirious. This is the fifth day, and I see him get worse.
"Dec. 17th, 4 a.m. — Not a moment can I be from him. I sit by his bed and read all day, and at night I humour him in all his wanderings. He has just fallen asleep, the first sleep for eight nights, and now from mere exhaustion. I hope he will not wake till I have written, for I am anxious that you should know the truth; yet I dare not let him see I think his state dangerous. On the morning of this attack he was going on in good spirits quite merrily, when, in an instant, a cough seized him, and he vomited two cupfuls of blood. In a moment I got Dr. Clark, who took eight ounces of blood from his arm — it was black and thick. Keats was much alarmed and dejected. What a sorrowful day I had with him! He rushed out of bed and said, ' This day shall be my last ; ' and but for me most certainly it would. The blood broke forth in similar quantity the next morning, and he was bled again. I was afterwards so fortunate as to talk him into a little calmness, and he soon became quite patient. Now the blood has come up in coughing five times. Not a single thing will he digest, yet he keeps on craving for food. Every day he raves he will die from hunger, and I've been obliged to give him more than he was allowed. His imagination and memory present every thought to him in horror; the recollection of 'his good friend Brown,' of 'his four happy weeks spent under her care,' of his sister and brother. Oh! he will mourn over all to me whilst I cool his burning forehead, till I tremble for his intellect. How can he be 'Keats' again after all this? Yet I may see it too gloomily, since each coming night I sit up adds its dismal contents to my mind.
"Dr. Clark will not say much; although there are no bounds to his attention, yet he can with little success 'administer to a mind diseased.' All that can be done he does most kindly, while his lady, like himself in refined feeling, prepares all that poor Keats takes, for in this wilderness of a place, for an invalid, there was no alternative. Yesterday Dr. Clark went all over Rome for a certain kind of fish, and just as I received it, carefully dressed, Keats was taken with spitting of blood.
"We have the best opinion of Dr. Clark's skill: he comes over four or five times a day, and he has left word for us to call him up, at any moment, in case of danger. My spirits have been quite pulled down. Those wretched Romans have no idea of comfort. I am obliged to do everything for him. I wish you were here.
"I have just looked at him. This will be good night."
🇬🇧🇬🇧🇬🇧
Giuseppe Albano, Curator of Keats-Shelley House, launches 2021's Keats-Shelley and Young Romantics Prizes - Poetry and Prose. Visit keats-shelley.org & click Prizes.
To mark 2021's theme - Writ in Water - Giuseppe visits John Keats' grave in Rome's Non-Catholic Cemetery.
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🇮🇹🇮🇹🇮🇹
Giuseppe Albano, Direttore della Keats-Shelley House, introduce il Keats-Shelley Prize e lo Young Romantics Prize, di poesia e prosa, per l'anno 2021.
Per maggiori informazioni visitate il sito http://keats-shelley.org e cliccate sulla sezione Prizes.
In occasione del tema del 2021, "Scritto sull'acqua", Giuseppe ha visitato la tomba di John Keats al Cimitero Acattolico di Roma.
#KeatsShelley200 #KS200
Through Joseph Severn’s memoirs and letters, we continue our journey back to the time when he and John Keats spent their first weeks in Rome two hundred years ago. In the passage below, Severn recalls Keats's despair for what he felt he was about to lose:
“While in Italy he [Keats] always shrank from speaking in direct terms of the actual things which were killing him. Certainly the 'Blackwood's' attack was one of the least of his miseries, for he never even mentioned it to me. The greater trouble which was engulfing him he signified in a hundred ways. Was it to be wondered at that at the time when the happiest life was presented to his view, when it was arranged that he was to marry a young person of beauty and fortune, when the little knot of friends who valued him and believed in a future for the beloved poet, and he himself, with generous, unselfish feelings, looked forward to it more delighted on their account — was it to be wondered at that, on the appearance of consumption, his ardent mind should have sunk into despair? He seemed struck down from the highest happiness to the lowest misery. He felt crushed at the prospect of being cut off at the early age of twenty-four, when the cup was at his lips, and he was beginning to drink that cup of delight which was to last his mortal life through, which would have insured to him the happiness of home — happiness he had never felt, for he was an orphan, and which would be a barrier for him against a cold and (to him) a malignant world."
[Image: Keats's bedroom, Penny Graham, gouache paint, 2008, Keats-Shelley House collection]
#KeatsShelley200 #KS200
#OnThisDay John Keats suffered a serious haemorrhage of the lungs, which caused him devastating pain and confined him to bed. Severn wrote a letter to Charles Brown to inform of his friend's condition:
"I fear our poor Keats is at his worst – a most unlooked for relapse has confined him to his bed – with every chance against him: it has been so sudden upon what I almost thought convalescence – and without any seeming cause that I cannot calculate on the next change. I dread it, for his suffering is so great, so continued, and his fortitude so completely gone, that any further change must make him delirious."
In his memoirs, he also recalled the following days:
"Dr. Clark was very kind and considerate, and was most ardent in his attention on Keats, and at times arose in the night to watch him, when any serious change took place or seemed imminent. This bitterly painful position for me (and so it was in a high degree, when nothing seemed to help my unfortunate friend) was not without a redeeming point — I mean that it was not utter misery, for I was at least the nurse of Keats, however unworthy and whatever my deficiencies; and, moreover, I was sustained by the delightful hope of my beloved friend's recovery, if God so willed. This hope reconciled me to every difficulty and supplied the place of sleep at times, and even food, for I was obliged to devote myself wholly to him both day and night, as his nervous state would not admit of his seeing any one but Dr. Clark and myself. And yet, with all his suffering and consciousness of approaching death, he never quite lost the play of his cheerful and elastic mind. Yet these happier moments were but slight snatches from his misery, like the flickering rays of the sun in a smothering storm. Real rays of sunshine they were, all the same, such as would have done honour to the brightest health and happiest mind: yet the storm of sickness and death was always going on, and I have often thought that these bursts of wit and cheerfulness were called up to set purpose — were, in fact, a great effort on my account. I could perceive in many ways that he was always painfully alive to my situation, wholly dependent as I was upon my painting. His wit, I should add, was seldom exercised but upon unpleasant things, for he was essentially chivalrous and tender-hearted; and, too, it never failed to call up something pleasant."
[Image: (clockwise) John Keats, Dr. James Clark, Charles Armitage Brown, Joseph Severn]
Piazza Di Spagna, 26
Rome
00187
Metro line A to SPAGNA or buses to Via del Tritone or Piazza San Silvestro
| Lunedì | 14:00 - 18:00 |
| Lunedì | 10:00 - 13:00 |
| Martedì | 14:00 - 18:00 |
| Martedì | 10:00 - 13:00 |
| Mercoledì | 14:00 - 18:00 |
| Mercoledì | 10:00 - 13:00 |
| Giovedì | 14:00 - 18:00 |
| Giovedì | 10:00 - 13:00 |
| Venerdì | 14:00 - 18:00 |
| Venerdì | 10:00 - 13:00 |
| Sabato | 14:00 - 18:00 |
| Sabato | 10:00 - 13:00 |
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#KeatsShelley200 #KS200 This week we're sharing a video of our Keats-Shelley200 Ambassador Reeta Chakrabarti reading Percy Byshe Shelley's poem 'Ozymandias', one of her favourites from the 'Essential Poems of John Keats and Percy Bysshe Shelley' published by the Keats-Shelley House. The poem was read at the launch party of Keats-Shelley200 on 6 February 2020. --------------------------------------------- Questa settimana vogliamo condividere un video della nostra ambasciatrice Keats-Shelley200, Reeta Chakrabarti, mentre legge la poesia di Percy Bysshe Shelley 'Ozymandias', una delle sue preferite dalla raccoolta 'Essential Poems of John Keats and Percy Bysshe Shelley' pubblicata dalla Keats-Shelley House. La poesia è stata letta alla cerimonia di lancio di Keats-Shelley200 il 6 febbraio 2020.
#OnThisDay #KeatsShelley200 #KS200 On 16 August 1819, an estimated 60,000 working-class people marched in Manchester, England, in a revolt against the political elite, and all because they wanted the right to vote. The peaceful protest turned bloody and the tragedy - which came to be known as the Peterloo Massacre - was immortalised by Percy Bysshe Shelley in his poem 'The Mask of Anarchy'. Here's Shelley biographer and Keats-Shelley200 Ambassador Richard Holmes reading an extract from this chilling, scathing masterpiece. ---------------------------------------------- Il 16 agosto del 1819, circa 60.000 persone della classe operaia marciarono in protesta a Manchester, in Inghilterra, in rivolta contro l'elite politica per rivendicare il diritto di voto. La pacifica protesta si trasformò in sanguinosa e la tragedia - che divenne nota come il massacro di Peterloo - fu immortalata da Percy Bysshe Shelley nella sua poesia "La maschera dell'anarchia". Ecco qui il biografo di Shelley e ambasciatore di Keats-Shelley200, Richard Holmes, mentre legge un estratto di questo capolavoro agghiacciante e sprezzante. bit.ly/3kMysN7
#Shelley200 #KS200 In June 1820, 200 years ago, Percy Bysshe Shelley completed his famous poem ‘To a Skylark.’ Shelley was inspired to write the poem after an evening walk he took with his wife Mary. As Mary later described: ‘It was on a beautiful summer evening while wandering among the lanes whose myrtle hedges were the bowers of the fire-flies, that we heard the carolling of the skylark.’ The poem is a search for an ideal world, and Shelley plays throughout the poem with the idea of the bird being both real and unreal at the same time. The Skylark is in fact a real bird as Shelley makes continuous references to bird's flight, song and physical attributes, but it is also a symbol of pure joy, a 'blithe spirit'. In this way Shelley explores the relationship between opposites such as the attainable and unattainable, the ideal and the real, the transience of life and immortality. Shelley's Skylark, like John Keats's Nightingale, despite being a mortal creature is also a symbol of immortality through its timeless song. However, unlike the Nightingale, whose joy produces 'heart aches', the Skylark makes Shelley aspire to at least 'half the gladness' that the bird must know. In this sense the Skylark is also a double of the poet, whose hymns are like the bird's melody. The only difference is that the bird lives in a state of bliss while the poet, and by extension all mankind, cannot achieve pure joy without also experiencing pain. When Shelley composed the poem he was experiencing some difficulties related to his financial situation and personal relationships. Therefore, the poem is not just an expression of joy but a nostalgic longing for an idealised joyous existence.
#OnThisDay On this day in 1821, Percy Bysshe Shelley wrote a letter to his friends John and Maria Gisborne regarding a poem he had just started composing, which turned out to be ‘a highly wrought piece of art’: ‘I have been engaged these last days in composing a poem on the death of Keats, which will shortly be finished; and I anticipate the pleasure of reading it to you, as some of the very few persons who will be interested in it and understand it. It is a highly wrought piece of art, and perhaps better, in point of composition, than anything I have written’. Rumour has it, that when Shelley died his heart (or liver, as the case may be), which had resisted burning during the cremation of his body, was removed and donated to his wife Mary Wollstonecraft Shelley who wrapped it in silk and placed it between the pages of Adonais. The story goes that Mary believed the final stanza to be a prophecy of Shelley’s destiny, as it eerily alludes to being out at sea in a tempest. Mick Jagger read some stanzas of Adonais in London’s Hyde Park, on 5 July 1969, in a memorial concert to Brian Jones, founder member of The Rolling Stones, who had died a few days earlier from drowning in his swimming pool. After Jagger finished reading his poetic tribute, the Stones began to play and thousands of white butterflies were released from cardboard boxes.
The Keats-Shelley House Poetry Prize for Schools 2020 - Announcement of this year’s winners live from the House in Rome
‘E i canti di primavera? Dove sono?’ / 'Where are the songs of Spring? Aye, where are they?' Un viaggio nella poesia di John Keats il cui ricordo è ancora oggi custodito dalla Keats-Shelley House di Piazza di Spagna a Roma: per ricordare quanta bellezza ci aspetta. Le nostre porte sono chiuse, è vero, ma la memoria è sempre in movimento. Grazie all’Associazione Nazionale Case della Memoria per averci realizzato questo filmato animato da Lisa Capaccioli.
The second part of the procedure on William Wetmore Story’s portrait bust of Shelley - a highly delicate work that we hope our restorer will soon be able to resume.
Good morning to all our supporters. In this video, shot last week, our restorer Rita Canneori shows us the first part of a cleaning procedure with agar agar gel which she’s using on our portrait bust of Shelley, by William Wetmore Story, 1876 c. Our reopening will be an occasion to celebrate all of the restored busts, as well as the life and death masks of Keats and the portrait cameos from our collection, together with the restoration of our historic ceilings, completed a few weeks ago.
Here is another video from the same performance of Julian Sands. This time it's Keats's turn: his 1819 'Ode on Melancholy' comes back to life thanks to Julian's passionate, powerful voice. No, no, go not to Lethe, neither twist Wolf's-bane, tight-rooted, for its poisonous wine; Nor suffer thy pale forehead to be kiss'd By nightshade, ruby grape of Proserpine; Make not your rosary of yew-berries, Nor let the beetle, nor the death-moth be Your mournful Psyche, nor the downy owl A partner in your sorrow's mysteries; For shade to shade will come too drowsily, And drown the wakeful anguish of the soul. But when the melancholy fit shall fall Sudden from heaven like a weeping cloud, That fosters the droop-headed flowers all, And hides the green hill in an April shroud; Then glut thy sorrow on a morning rose, Or on the rainbow of the salt sand-wave, Or on the wealth of globed peonies; Or if thy mistress some rich anger shows, Emprison her soft hand, and let her rave, And feed deep, deep upon her peerless eyes. She dwells with Beauty—Beauty that must die; And Joy, whose hand is ever at his lips Bidding adieu; and aching Pleasure nigh, Turning to poison while the bee-mouth sips: Ay, in the very temple of Delight Veil'd Melancholy has her sovran shrine, Though seen of none save him whose strenuous tongue Can burst Joy's grape against his palate fine; His soul shalt taste the sadness of her might, And be among her cloudy trophies hung.
Much-loved English actor dropped by the Keats-Shelley House last month to read a selection of poems from our beautiful anthology 'John Keats and Percy Bysshe Shelley, Essential Poems' which is exclusive to the House and can be bought online at http://www.keats-shelley-house.org/en/shop/john-keats-and-percy-bysshe-shelley-essential-poems--2 In this video, Julian reads 'Ozymandias', the renowned sonnet penned by Shelley in 1818. I met a traveller from an antique land Who said: “Two vast and trunkless legs of stone Stand in the desert . . . Near them, on the sand, Half sunk, a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed: And on the pedestal these words appear: ‘My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!' Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.”
Per chi parla italiano tra le persone che ci seguono, un breve video tratto dall'evento di ieri, "Tradurre Shelley: l'essenza della violetta", in cui Manuela Mazza ci racconta, attraverso le parole di P. B. Shelley, la dichiarazione d'amore della giovane Mary al cimitero di St. Pancras.
La favolosa e talentuosa Caterina Murino legge Mary Shelley alla Keats-Shelley House. Grazie all'attrice e alla curatrice Madeleine Nieddu Fresi.
Villa Diodati & Beyond: Reading teatrale con Caterina Murino 26/01/2017 alla Keats-Shelley House, Piazza di Spagna, Roma
A preview of the Keats-Shelley House
Situated at the right foot of the Spanish Steps, just a few steps away from Spagna metro station, the Keats-Shelley House is a museum dedicated to the English Romantic poets, who were spellbound by the Eternal City.
26 Piazza di Spagna is most famous for being the final dwelling place of John Keats, who died here in 1821, aged just 25, and to this day Keats’s bedroom is preserved as a shrine to his tragic story and extraordinary talent.
Displayed through a chain of beautiful rooms, the collection contains a great many treasures and curiosities associated with the lives and works of the Romantic poets, as well as one of the finest libraries of Romantic literature in the world; now numbering more than 8,000 volumes.
Galleria d'Arte Moderna di Roma Capitale
via Francesco Crispi, 24Istituto centrale per la grafica
Via della Stamperia, 6Servizio Educativo - Istituto centrale per la
Via della Stamperia 6Santa Maria della Concezione dei Cappuccini
Via Veneto, 27
Museo Criminologico Roma - Pagina ufficiale
Via del Gonfalone 29
Museo Nazionale di Castel Sant'Angelo
Lungotevere Castello, 50
Mostra di Leonardo Da Vinci - Palazzo della C
Piazza della Cancelleria, 68
Thermes de Caracalla - Thermae Antoninianae
Via delle Terme di Caracalla, 52