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Updated: June 2, 2025
Previously to their arrival at Genoa, a house had been taken for Lord Byron and the Guiccioli in Albaro, a pleasant village on a hill, in the vicinity of the city; it was the Casa Saluzzi, and I have been told, that during the time he resided there, he seemed to enjoy a more uniform and temperate gaiety than in any former period of his life.
Meanwhile, he imported his movables from Venice, hired a suite of rooms in the Guiccioli palace, executed his marvellously close translation of Pulci's Morgante Maggiore, wrote his version of the story of Francesca of Rimini, and received visits from his old friend Bankes and from Sir Humphrey Davy.
There, do whatever you please with it. In taking the bag, and thanking him most warmly, I added, 'This will make a nice legacy for my little Tom, who shall astonish the latter days of the nineteenth century with it." Shortly after, Moore for the last time bade his friend farewell, taking with him from Madame Guiccioli, who did the honours of the house, an introduction to her brother, Count Gamba, at Rome.
Nevertheless, there were difficulties which might have been expected. Count Guiccioli, while he seemed to admire Byron, watched him with Italian subtlety. The English poet and the Italian countess met frequently. When Byron was prostrated by an attack of fever, the countess remained beside him, and he was just recovering when Count Guiccioli appeared upon the scene and carried off his wife.
Conjectures as to the originals of imaginary portraits, are generally futile; but Miss Millpond not Donna Inez is obviously Lady Byron; in Adeline we may suspect that at Genoa he was drawing from the life in the Villa Paradiso; while Aurora Raby seems to be an idealization of La Guiccioli:
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