WorkAnn Radcliffe

The Italian, or the Confessional of the Black Penitents

The Italian, or the Confessional of the Black Penitents (1797) Inferred

Ann Radcliffe (1764–1823) · 1797

InferredHudspeth identified the painting as Washington Allston's *Spavento's Vision of the Bloody Hand*, based on Ann Radcliffe's *The Italian*; Fuller and Clarke are viewing the Allston painting, which derives from Radcliffe's Gothic novel, and her invitation implies familiarity with the novel that inspired it.

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Documented 1831

Letters

Selected engagements, in chronological order.

Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this work is selective, not exhaustive. Methodology →

When Fuller engaged with this work

I. Childhood

II. Adolescence1record

III. Self-Directed

IV. Transcendentalist

V. New York

VI. Europe

✦. Memoirs (1852)

1810

1820

1832

1836

1844

1846

1850

1831—

Letter to James F. Clarke

p182

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“If you have not seen Mr Alston's new picture should you not be charmed to go with me? I hear tis seeable at Miss Scollays for some days to come.”

Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. VI. Ithaca: Cornell University Press, 1988.

Inferred Hudspeth identified the painting as Washington Allston's Spavento's Vision of the Bloody Hand, based on Ann Radcliffe's The Italian; Fuller and Clarke are viewing the Allston painting, which derives from Radcliffe's Gothic novel, and her invitation implies familiarity with the novel that inspired it.