We are grateful to the Associazione Culturale Il Palmerino for forwarding the announcement of a great Conference at Unicollege (Florence) on December 1, 2025. The programme sounds exciting, and we wish to highlight a paper on a fascinating topic by Crystal J. Hall, Giovanna Parnoff and May Yuan: “Vernon Lee and the Generi of ‘Operosita Femminile'”.
John Singer Sargent, le grand ami de Vernon Lee, est mis à l’honneur à Paris par une exposition majeure et une série de rencontres et d’événements à ne pas manquer.En voici les principaux. Tous renseignements et réservations sont à retrouver sur le site du Musée d’Orsay: https://www.musee-orsay.fr/fr/agenda/expositions/john-singer-sargent-eblouir-paris
Not to be missed: John Singer Sargent in Paris: A major exhibition
… and related events at the Musée d’Orsay
Colloque: Devenir John Singer Sargent, 7 Novembre 2025
10h00 · Introduction par Paul Perrin et Caroline Corbeau-Parsons, commissaires de l’exposition
10h30 · Partie 1 : Sargent, “French by the brush”?
Elaine Kilmurray, directrice du catalogue raisonné John Singer Sargent (EN) (20 min) ;
Charlotte Ribeyrol, professeure de littérature britannique du XIXe siècle à Sorbonne Université, Paris (FR) (20 min) ;
Isabelle Gadoin, professeure de littérature du XIXe siècle à l’université Sorbonne Nouvelle (FR) (20 min) ;Pause : 10 min
Laure Chabanne, conservatrice en chef peintures au Musée d’Orsay (FR) (20 min) ;
Liz Prettejohn, professeure d’histoire de l’art à la University of York (EN) (20 min).
12h30 · Pause : 1h30
14h00 · Partie 2 : Table-ronde : Sargent and issues of Nationalism, Nationality and cosmopolitanism
Andrew Stephenson , professeur émérite de la University of East London (EN) ;
Erica Hirshler , Croll Senior Curator of American Paintings, Museum of Fine Arts, Boston (EN) ;
Stephanie L. Herdrich, Alice Pratt Brown Curator of American Painting and Drawing, The Metropolitan Museum of Art, New York (EN).
14h45 · Partie 3 : Sargent et les arts à Paris
Emily Eells-Ogée, professeure émérite d’études anglaises à l’université Paris Nanterre (FR) (20 min) ;
Angus Wrenn, professeur de littérature et de littérature comparée au centre de langues de London School of Economics and Political Science (EN) (20 min).
17h00 · Mot de conclusion
L’intégralité des échanges (français/anglais) est prévue en traduction simultanée.
À l’occasion de l’exposition « John Singer Sargent. Éblouir Paris », le musée d’Orsay propose une soirée littéraire et musicale inédite, imaginée par Danièle Lebrun de la Comédie-Française. Entre lectures, musique et correspondances, Une soirée chez Sargent fait revivre les liens complexes entre John Singer Sargent, Henry James et Edith Wharton, figures majeures de la Belle Époque.
we are delighted to forward the announcement of the conference on “Letters and Literature” organised by the Open University UK which may be of interest to all readers and scholars of Vernon Lee and members of her circle. The programme is particularly rich and attendance is free, but you need to register first (programme and registration here)
Here is an extract from the CFP by the organising committee: “Letters have been described in one evocative image as ‘a form in flight’ (Liz Stanley). Seeking to appreciate more fully such descriptions and their importance for literary studies, we aim to bring together in this online event scholars, writers and researchers interested in exploring letters and literature from the sixteenth century to the present day.
This FREE 3-day online international conference’s broad focus is the letter in its material and textual forms, as manifested across literary history—from the tragedy of Romeo and Juliet to the golden age of epistolary fiction, Kate Thomas’ ‘postal plots’ of the nineteenth century, and what Maria Löschnigg and Rebekka Schuh have identified as an Epistolary Renaissance in the work of 21st century writers. Participants are encouraged to engage with this theme in ways including but not limited to the following questions/topics:
how, where and why do letters feature in literary texts and literary communities?
what strategies of narrative, plot, or character do they illustrate and deploy?
the role of materiality in literary letters
letters as vehicles for exploring writers’ ideas about the public and the private, absence and presence, the global and the local, and/or notions of authenticity and the ‘authentic self’
letters and literary reputations
letter writing manuals and the development of literary history
what counts as a letter in twenty-first century narratives?
Letters have been described as the ‘epistolary form of gift exchange’ (Stanley), and Mecca Jamilah Sullivan cites the ‘breathlessness of urgent listening’ evoked by writers’ correspondence. We seek contributions investigating letters as makers and markers of creative communities, including but not limited to the following topics:
the role of letters in writers’ networks
imagined letters/letters unsent
writers’ letters from prison
representation or employment of letters in diasporic/migrant epistolary narratives
Creative responses to all these issues are very much welcomed.
And with a keen eye on issues of preservation and representation, we are interested to hear too from those working on the editing of writers’ letters (print and digital), and on letters in the archives.
we are thrilled to publish the following Call for Papers for the Vernon Lee Conference due to take place at the University of Liverpool, 1-3 September 2026 about Order and Chaos: Vernon Lee and the Politics of Disruption. The conference is organized by members of The Vernon Lee Alliance (VLA): Matthew Bradley (The University of Liverpool, UK), Elisa Bizzotto (Iuav University of Venice, Italy), Sally Blackburn-Daniels (Teesside University, UK), Mary F. Burns (Independent Scholar, USA), Mandy Gagel (University of Michigan, USA), Mary Clai Jones (Chadron State College, USA), Tomi-Ann Roberts (Colorado College, USA). Thanks to the generosity of the International Vernon Lee Society (IVLS), bursaries will be offered to early-career/precarious scholars – more details on the application process will be made available in due course.
On this day, October 14, 1856, 169 years ago, Violet Paget, later known as “Vernon Lee”, was born at the Château du Pont Feuillet, Saint Léonard near Boulogne-sur-Mer (France).
It is such a pleasure to recall our discovery of the very place, in October 2022! Members of the IVLS and participants at Pr. Marc Rolland’s conference on “Vernon Lee and the Fantastic” at the University of Boulogne sur Mer) were guided by the French historian Michel Parenty along a “Vernon Lee itinerary” following the footsteps of her family in October 1856–her mother Matilda Paget (formerly Lee-Hamilton, née Adams), her father Henry Ferguson Paget and her half-brother Eugene Lee-Hamilton– to her birth place: Pont-Feuillet.
Michel Parenty’s help was much needed to complete the information provided by Vernon Lee in her record of her first days of life in “Boulogne sur mer and Literary Immortality,” A Vernon Lee NoteBook (unpublished typescript), written in Oxford, 20 Juin 1930. Readers of Michel Parenty’s important chapter “Pont-Feuillet, demeure inspirée” in his book published in December 2022 De la demeure inspirée au château d’esprit balnéaire will discover that the house was later home to the famed egyptologist Auguste Mariette.
The visit included a respectful visit of the cemetery of Saint-Léonard and the tombs of the Pagets’ hosts at the time: Major Bergonzi and his wife Mary-Anne Marshall, as well as the house itself where the current owners heartily welcomed the IVLS and their projects. Last but not least, we were honoured by Mrs Loire, Mayor of Saint Léonard, at the City Hall, where the authentic birth certificate of Violet Paget was displayed for all those present. Again, we are most grateful to Michel Parenty for his important role in the local authorities’ agreement to make our projects happen.
I can’t resist the pleasure of (again) publishing here Lee’s own account: “Boulogne sur mer and Literary Immortality,” A Vernon Lee NoteBook
“I have never been at Boulogne,” I replied, probably to myself, since no-one else had asked –“I have never been at Boulogne before.” Now, as a fact, I was born there, or within so few miles thereof, and from my window of the hotel, I could watch a constant to-and-fro of motor buses “Boulogne-Ponte de Briques” proclaiming as it were, the imposture of my alibi. Also suggesting I might spend an hour, or a quarter of one, pilgrimaging to the precise spot where I was born. Had I not, until trees or houses obstructed its view, (before the war) seen from the train, recognising one of my Father’s many sepias, the very house “Château St. Léonard”, with its Louis Philippe terrace, in which I actually emerged into the world, A.D. 1856; came into the world with the legend that the doctor said “Madame, je n’ai rien à vous reprocher”, words repeated to me many times during my childhood, as a reason for filial gratitude and sometimes of reproach, little suspecting that Dr. Perrichod (that was his name) doubtless said the same words to all the ladies he thus assisted, and irrespective of the subsequent glory of their offspring. And, by the way, how small is the world and how telescoped is time, that sixty years later I should have been the guest (at a place less attractive than its name, “Cavalière du Lavandou”) of an old becraped and somewhat moustached widow lady who was the daughter of that doctor who had introduced me to the world and particularly to Pont de Briques, Boulogne sur Mer, Pas de Calais, and, as I have mistakenly taken for granted, also to eventual immortality.
Now, if Boulogne had not been simmering under a kind of mid-night sun (for no daylight was ever so hot and so dim) making its quays like some faded Vernet print of a “Harbour of France”, I might have taken heart of grace, and, after wandering round the donjons and douves and leafy ramparts of the Upper Town (how the open windows reveal Louis Philippe buffets and miroirs à glace and Balzacien retired officials!) – I might have taken likewise one of those motor buses and pilgrimaged to that place of my Birth. And the queer thought arises that had I been somebody else (which I might so easily have been) who in some future times had read my works, the probability is I should thus have spent my afternoon; the place of my Birth being one of the few objects of interest to travellers at, or near, Boulogne sur Mer. For have I not pilgrimaged to similar Birth (or, for that matter, Death) places of other writers. Which thought led to the further one that this would have happened only if Dr. P. had assisted and congratulated (“Madame, je n’ai rien à vous reprocher”) somewhat earlier in the History of Literature. Since it was easier in earlier days to attain such immortality as is starred in guidebooks simply because, given that somebody had to be immortal, there weren’t so many people to do it. So that, after comparison of the prose and poetry in Golden Treasuries, etc., indeed, that of many departed writers, with my own and the consequent recognition that the latter, to wit, mine, is better worth remembering, yet, I may assert with equal confidence that it will not be remembered, or the Birth Place of V. L. be recorded (elsewhere than on obsolete passports, as Pont de Briques, Pas de Calais, near Boulogne sur Mer), and pilgrimaged-to by my Passionate Readers of Future Ages.
For one of the few certainties which life has brought me is that the competition for immortality much exceeds nowadays the immortality available for distribution; and that literature is ceasing to be aere perennius and assuming its true status as journalism and perishable. About which fact, though at moments disappointing to my secret hopes, I cannot fairly complain, and am bound to apply to Fate Dr. P.’s remark at my own birth: “Madame, je n’ai rien à vous reprocher.”
….
But apart from this matter of “oblivion versus immortality”, there would be more for me to say about Boulogne sur Mer because, as a fact, I really had been there before, though only at the age of five, the year of the wedding of the afterwards King Edward VII, whose effigy alongside of his bride in The Illustrated News, is one of the few images I retain (perhaps because I coloured it by hand!) from those months at No. Blank, Grande Rue, Boulogne sur Mer.
Also that of Major Bergonzi’s garden at Pont de Briques, cruelly branded on memory by one of those mishaps disgracing parents after accepting the hospitality of old friends for their offspring. Much later in life I learned, connecting him with a wholesomely austere plum-pudding, that Major Bergonzi had fought in the Crimean War, had a wife who was a Swedenborgian (?) and had been born in Italy, as was proved by his playing the guitar after meals.
la Société Historique et Archéologique de Sucy-en-Brie nous annonce deux expositions à Sucy-en-Brie du 13 au 28 septembre; ce sont des expositions très importantes pour nous qui connaissons les liens d’amitié et l’amour de l’art qui unissaient les peintres André et Berthe Noufflard, leurs filles Henriette et Geneviève, et Vernon Lee:
MAISON BLANCHE ET SES HÔTES
et
ANDRÉ ET BERTHE NOUFFLARD- HENRI RIVIÈRE-MAURICE GUY-LOË, UNE HISTOIRE DE PEINTURE
Nous nous réjouissons de la possibilité ainsi offerte aux participants au colloque VERNON LEE et le PATRIMOINE CULTUREL EUROPEEN (Université de Paris Cité, 18-19 septembre 2025) de découvrir ou d’approfondir leur connaissance d’une source d’inspiration mutuelle de Vernon Lee et de ses amis français.
Nous en remercions vivement Isabelle Gadoin Latreyte et Catherine Martzloff, curatrices des deux expositions, et Michel Balard, Président de la Société Historique et Archéologique de Sucy-en-Brie.
During registration, you’ll have the option to add supplements such as the conference dinner (€45) or dinner for an accompanying guest (€45). Please note that these options must be selected at the time of registration. It will not be possible to add them at a later stage.
Christophe Gelly & Emilie Laurent, for the organising committee
we are delighted to share the following information from our friends at the Colonica di Villa Il Palmerino!
Carissimi Soci
Siamo felici d’invitarvi all’inaugurazione della ormai consueta mostra di ritratti realizzata da Charles Cecil Studios, che conferma la sua partecipazione alla vita culturale fiorentina con questa importante fucina di giovani talenti e pittori della migliore tradizione classica. Lunedì 2 Giugno dalle ore 18 alle ore 21 venite a festeggiare con noi la loro esposizione che rimarrà al Palmerino fino al 22 Giugno e si concluderà con una giornata aperta a tutti per open door painting.
Dear Members and Friends We are delighted to invite you to the inauguration of the now customary exhibition of portraits by Charles Cecil Studios, which confirms its participation in Florentine cultural life with this important forge of young talent and painters in the best classical tradition. On Monday 2 June from 6 to 9 p.m. come and celebrate with us their exhibition, which will remain at the Palmerino until 22 June and will conclude with an open day for open door painting.
Come annunciato a inizio maggio durante la conferenza della Dott.ssa Cristina Acidini vorremmo organizzare una visita di gruppo alla mostra da lei curata a Villa Bardini. Il giorno prescelto è venerdì 20 giugno alle ore 16 sperando di avervi con noi vi chiediamo di prenotarvi al nostro email, vi daremo tutti i dettagli nella risposta.
As announced at the beginning of May during Dr Cristina Acidini’s lecture we would like to organise a group visit to the exhibition curated by her at Villa Bardini. The chosen day is Friday 20 June at 4 p.m. Hoping to have you with us, we ask you to book at our email, we will give you all the details in the reply.
Inoltre volevamo segnalarvi che siamo stati inseriti nell’Estate Fiorentina con un bel progetto che condividiamo con altre due associazioni vicine a noi Casa Museo Schlatter e Itaca; vi sarà un cartellone di eventi diffusi, itinerari musica e performance che si aprirà con l’inaugurazione il 26 Giugno di una mostra di disegni di Ludovico Tommasi al Palmerino ne siamo molto orgogliosi e a breve vi daremo notizia dell’intero programma.
We also wanted to inform you that we have been included in the Estate Fiorentina with a fine project that we share with two other associations close to us, Casa Museo Schlatter and Itaca; there will be a programme of widespread events, music itineraries and performances that will open with the inauguration on 26 June of an exhibition of Ludovico Tommasi’s drawings at the Palmerino.
we are delighted to forward the final programme of the conference organised by Prof. Christophe GELLY (Université de Clermont Auvergne) and Emilie LAURENT (PhD Université de Clermont Auvergne), under the aegis of ECHELLES UMR 8225 and CELIS 4280, with the support of the IVLS. Looking forward to meeting with you for this exciting event, Bâtiment Olympe de Gouge, 8 place Paul Ricoeur, Paris. For information about the event, please contact vernonleeintermediality@gmail.com
Programme
DAY 1: September 18
9:00: Welcome
9:30 – 12:00: Panel One: Aesthetic debates and intellectual exchanges || Débats esthétiques et échanges intellectuels
Eduardo De Maio (University of York), “Violet Paget and Telemaco Signorini: mutual friendship and promotion in Florence at the fin de siècle”
Claire McKeown & Kerstin Wiedemann (Université de Lorraine), “Vernon Lee et Irene Forbes Mosse : un dialogue épistolaire autour des arts et la modernité”
Michel Prum (Université Paris Cité), “Vernon Lee and the Darwinian Legacy”
Ingrid Hanson (University of Manchester), “Satan the Waster, Metastasio and Patriotism’s ‘great symphonies’”
Ruth Thrush (University of Oxford), title tba — dealing with The Ballet of the Nations
12:00 – 14:00: Lunch Break
14:00 – 15:00: Keynote by Catherine Maxwell (Manchester University): “Preserving the Renaissance: Vernon Lee’s ‘A Wedding Chest’”
Michele Brugnetti (Sapienza University), “Hearts and Brushstrokes: The Legacy of Pre-Raphaelite Art in Oke of Okehurst and the Morris-Rossetti-Jane Triangle”
Hal Gladfelder (University of Manchester), “‘Curious’: Vernon Lee and John Singer Sargent in the Music Archives”
Stefanie John (Technische Universität Braunschweig), “Lee’s Tapestries: Textiles as Vibrant Matter in ‘Prince Alberic and the Snake Lady’”
Elizabeth Howard (University of Oregon), “Queer Aesthetic Experience in Vernon Lee’s ‘Prince Alberic and the Snake Lady’”
DAY 2: September 19
9:00—10:30: Panel Three: Re-readings and re-writings || Relectures et réécritures
Zaynub Zaman (University of Manchester), “‘I found myself in the forest, drawn to its heart and its mysteries’: representations of infernal anxieties in Dante’s Inferno, D.G. Rossetti’s How They Met Themselves (1864) and Vernon Lee’s The Enchanted Woods”
Nicole Fluhr (Southern Connecticut State University), “’There is a legend about her’: (a)e(s)th(et)ics and representation in Vernon Lee’s ‘The Legend of Madame Krasinska’”
Patricia Pulham (University of Surrey), “Madonnas and Venuses: Emotion and Eroticism in Vernon Lee’s Queer Aestheticism”
10:30: break
11:00 – 12:00: Keynote by Sophie Geoffroy (Université de la Réunion), “La correspondance de Vernon Lee : genèse et hybridation intermédiale d’une œuvre européenne”/ Vernon Lee’s Letters: genesis and intermedial hybridization of a European oeuvre
“Literature is the universal confidant, the spiritual director of mankind" Vernon Lee
Portrait de Miss Paget par Berthe Noufflard, 1932
"L’avantage d’être écrivain, même sans lecteurs, c’est de pouvoir éviter tout malentendu et toute déloyauté en mettant sous les yeux des autres ce qu’on pense sous forme de livre." VL, Lettre à Berthe Noufflard 26 juillet 1925
Miss Paget, portrait photographique par André Noufflard
« Mais si seulement les gens voulaient reconnaître dans leurs semblables : des semblables, l’autre soi-même du Bouddhisme ou du moins une pauvre bête aussi capable de souffrance et d’erreur que soi-même ! » (Vernon Lee, Lettre à Mathilde Hecht, 30 décembre 1921)