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Richard Rothwell's portrait of Shelley was shown at the Royal Academy in 1840, accompanied by lines from Percy Shelley's poem The Revolt of Islam calling her a "child of love and light".
Richard Rothwell's portrait of Shelley was shown at the Royal Academy in 1840, accompanied by lines from Percy Shelley's poem The Revolt of Islam call
Page from William Godwin's journal recording "Birth of Mary, 20 minutes after 11 at night" (left column, fourth row)
Page from William Godwin's journal recording "Birth of Mary, 20 minutes after 11 at night" (left column, fourth row)
The Polygon (at left) in Somers Town, London, between Camden Town and St Pancras, where Mary Godwin was born and spent her earliest years
The Polygon (at left) in Somers Town, London, between Camden Town and St Pancras, where Mary Godwin was born and spent her earliest years
Percy Bysshe Shelley was inspired by the radicalism of Godwin's Political Justice (1793). When the poet Robert Southey met Shelley, he felt as if he w
Percy Bysshe Shelley was inspired by the radicalism of Godwin's Political Justice (1793). When the poet Robert Southey met Shelley, he felt as if he were seeing himself from the 1790s. (Portrait by Amelia Curran, 1819.)
Mary Shelley wrote of the Simplon Pass: "There was a majestic simplicity that inspired awe; the naked bones of a gigantic world were here."
Mary Shelley wrote of the Simplon Pass: "There was a majestic simplicity that inspired awe; the naked bones of a gigantic world were here."
Giuseppe Mazzini. His thoughts influenced many politicians of a later period, among them Woodrow Wilson, David Lloyd George, Mahatma Gandhi, Golda Mei
Giuseppe Mazzini. His thoughts influenced many politicians of a later period, among them Woodrow Wilson, David Lloyd George, Mahatma Gandhi, Golda Meir and Jawaharlal Nehru.
Mary Shelley spent time mourning Percy Bysshe Shelley at his tomb in Rome.
Mary Shelley spent time mourning Percy Bysshe Shelley at his tomb in Rome.
Shelley on Correggio's Nativity: "When, by the drawing down of the blinds, we were left nearly in darkness, the effect on this picture was miraculous.
Shelley on Correggio's Nativity: "When, by the drawing down of the blinds, we were left nearly in darkness, the effect on this picture was miraculous. The child lay in living beams, which seemed to emanate from a focus, and spread rays of light around. I could not have believed that any coloured canvas could have shown such glowing radiance."