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Acknowledgments
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acknowledgments Excerpts from this work appeared in shortened versions in these publications: ‘‘The American Discovery of Italy’’ in Americans in Modern Italy, a special issue of The Cesare Barbieri Courier (n.d.); ‘‘The Italian Side of Emily Dickinson,’’ The Virginia Quarterly Review , Summer 1994; ‘‘The Shadowy Lady of the Street of Dark Shops,’’ The Virginia Quarterly Review, Spring 1998; and ‘‘Mabel Dodge Luhan: In Search of a Personal South,’’ Southwest Review, Summer 1998. In gathering material for this book, I had access to the resources of various libraries and historical societies either through personal visits or correspondence, as well as encounters with many interested and helpful people along the way. It is a pleasure to thank the staff of my nearest and most-used libraries at Sarah Lawrence College and Mercy College—they provided unfailing and friendly assistance. I gratefully record the personal attention of Prof. Maria Xenia Wells and the Harry Ranson Humanities Research Center at the University of Texas at Austin, and the Fondazione Caetani in Rome which gave permission to examine the correspondence of Marguerite Caetani. I also would like to personally thank the Rare Book and Manuscript Collection Library at Columbia University, the Fitzwilliam Museum in Cambridge, England, the Houghton Library at Harvard University, the Massachusetts Historical Society in Boston, the Special Collections at Georgetown University Library, the Special Collections at the Syracuse University Library, the University of Washington Libraries, vii the Public Library of New London, Connecticut, the manuscript collection of Beinecke Library at Yale University, and the Centro Studi Americani in Rome. While in Rome during a residency at the American Academy, I benefited both from access to its fine library and from its central location on the Janiculum Hill, so close to landmarks associated with the 1848–49 Rome Revolution in which Margaret Fuller participated. I am indebted to the following persons for providing me with texts, introductions, information, or illuminating insights that helped in the development of my work: Walter Arnold, Cristina Anzilotti, Michael Biddle, Frances Biddle, Schuyler Chapin, Bell Gale Chevigny, Tea Codignola, Spencer Evans, Sally Fitzgerald, Denis Greenan, Mary Greenly, Lu Hamlin, Shirley Herbert, Esme Howard, James Laughlin, Suzanna Lengyel, Lauro Marchetti, Ben Morreale, Becca Mudge, Frank Nigro, Benedetta Origo, Florence Phillips, Giuliano Prezzolini, Laurance and Isabel Roberts, Eugene Walter, Maria Xenia Wells, and Sheila Wertheimer. And a special word of appreciation to Kenneth Maddox, Art Historian at the Cropsey-Newington Foundation, Hastings-on-Hudson, New York, for directing me to Maria Cropsey’s correspondence. And, most of all, my gratitude to Robert Oppedisano for his belief in, and support of, my work. Thank you, all! Acknowledgments of illustrative material: Cover illustration: Venetian Scene by James McNeill Whistler, from New Britain Museum of Art, New Britain, Connecticut. Daguerreotype of Margaret Fuller, the Schlesinger Library, Radcliffe Institute, Harvard University. Daguerreotype of Emily Dickinson, Amherst College Archives and Special Collections, by permission of Trustees of Amherst College. viii Acknowledgments [44.222.233.8] Project MUSE (2024-03-29 06:28 GMT) Photograph of Constance Fenimore Woolson, call no. pfMS Am 1094, Box 1, by permission of the Houghton Library, Harvard University. Photograph of Mabel Dodge Luhan, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library. Photographs of Marguerite Caetani, Harry Ransom Humanities Research Center, the University of Texas at Austin. Drawing of Iris Origo by Augustus John, by permission of Benedetta Origo. Acknowledgments ix ...