476:
34:
350:, then onwards to Naples and Rome. During his time in Naples, Lamartine stayed with Darest de la Chavanne, who owned a cigar factory. There, he met a young woman from Procida, a tobacco-leaf folder with whom he began a relationship, and with whom he may have been intimate. The young woman died after Lamartine's return to France; the writer Agide Pirazzini suggests that he truly loved her only after her death and that thenceforth her image never left him.
326:
391:, which consisted of half its length, was collected and published in a separate edition beginning in 1852. The novel was a popular hit upon its release. By 1853 a Spanish-language edition was being advertised; several other translations in that language were published before 1919. By 1875 James Runnion had translated it into English; this translation was published by the Chicago-based
317:
narrator – though downhearted – cannot stay. Although they continue to exchange letters, once in French society, the narrator feels ashamed of his love for the poor fisherman's granddaughter. He only realizes his folly after learning of
Graziella's death at age sixteen. The novel closes with a poem, "Le Premier Regret" ("The First Regret"), dedicated to her memory.
425:. Four years later, Runnion described the novel as "a leaf torn from personal memoires". Pirazzini, writing in 1917, noted inaccuracies, such as Lamartine's age during the trip to Italy (eighteen in the novel, early twenties in reality), but considered them of little relevance, as his memories were "surrounded with light and poetry". Since then, Henri Guillemin of the
313:
home, he finds
Graziella, who confesses her love for him, stating, "They wished me to take a husband—you are already the husband of my soul". The narrator replies in kind, and they spend the night together, discussing their romance. When Graziella's family comes to get her, they decide that she need not marry Cecco.
373:
and was read several pages of the journal. Touched by the story, when
Pelletan returned to Paris, he recommended that a French company publish the recollections, which he was certain would find popularity. The publisher agreed, and although the financially troubled author at first refused, when faced
263:
the remnants of the destroyed boat. Soon afterwards, the narrator and Virieu go to the village, where they purchase a new boat and fishing supplies for the fisherman. When they return, Andrea and his family are sleeping, but are soon awoken and brought to the beach, joyously accepting the new vessel.
288:
The poor weather breaks on the ninth day, and Andrea takes the young men and his family to Naples. Virieu is recalled to France, and the narrator falls ill from sorrow over his friend's departure. He sends for Andrea, and
Graziella rushes to his lodging, where she treats him. Their conversation, and
262:
The following morning, the narrator overhears Andrea's wife, criticising him for taking on the two "pagan" Frenchmen. However, Graziella comes to their defense, silencing her grandmother by pointing out the two young men's compassion and religious acts. The family and their apprentices go to recover
210:
received popular acclaim. An operatic adaptation had been completed by the end of the year, and the work influenced paintings, poems, novels, and films. The
American literary critic Charles Henry Conrad Wright considered it one of the three most important emotionalist French novels, the others being
353:
His experiences with the young tobacco-leaf folder were a potent inspiration for
Lamartine; Pirazzini suggests that several works, including "Le Passé" ('The Past') and "L'Hymne au soleil" ('Hymn to the Sun'), were written in her memory. Lamartine's experiences also formed the basis of his poem "Le
312:
Though
Graziella accepts the proposed marriage on the day the narrator returns, she later escapes into the night, intent on joining a convent. The following day the family search for her in vain. Eventually, the narrator realizes that she must have returned to Procida and hurries there. In Andrea's
300:
Months pass, and the narrator considers Andrea's family to be his own. The narrator attempts to treat
Graziella as a sister. He accompanies her to church and teaches her to read and write, and she insists that he spend more time with her, talking and learning to carve coral than futilely writing
316:
For three months, they enjoy their love, unknown to
Graziella's family. However, she is pained at the thought of the narrator returning to France and by her social station, much beneath the narrator's own. When the narrator is recalled to France, Graziella collapses on the doorstep, and the
384:. The girl with whom Lamartine was smitten in Italy was presented through the character of Graziella. The author depicted as working in coral, hoping to "avoid the degrading association which an open avowal of her employment would suggest". He would, however, later regret this change.
255:. There he meets a young man named Aymon de Virieu, and the two decide to apprentice themselves to Andrea, a local fisherman. Although the first few months pass in contemplative tranquility and beauty, they are forced to take refuge at Andrea's home on
552:, having met a man who claimed to be the son of Lamartine and Graziella while in Italy in 1869, wrote a poem titled "Le fils de Lamartine et Graziella" ('The Son of Lamartine and Graziella'). The poem, published in Corbière's 1873 collection
285:. Such is Graziella's fascination with the tale that she abandons all reserve and sits near the narrator, her breath on his hand, and her hair brushing his forehead. When it is over, she begs the narrator to reread the tale.
266:
Over the next several days, the narrator and Virieu enjoy an idyllic life, reading, walking, and enjoying the beauty, music, and dance of
Procida. Graziella expresses interest in their reading, and thus the men read works by
457:(1788). She suggests that the texts both resolve around tensions of island paradises and societal hell as well as a "professed pure, brotherly love", ending with the death of a character. She notes describes
362:. Lamartine later wrote a journal describing his experiences in Italy, completing the tale in 1843, and was considering telling the tale of Graziella as commentary to "Le Premier Regret".
309:
Cecco: "My life without her presence was nothing". The imminent loss of Graziella drives the narrator to abandon Naples and wander the surrounding area, returning only after the new year.
548:, which features a sculptor's daughter named Graziella. The novel states that her father, Marx, took "his cue from one of Lamartine's most poetic stories" in naming her. The French poet
195:, Italy; they are separated when he must return to France, and she soon dies. Based on the author's experiences with a tobacco-leaf folder while in Naples in the early 1810s,
231:(1801). Three English translations have been published: one by James Runnion in 1875, one by Ralph Wright in 1929, and one by Raymond N. MacKenzie in 2018.
577:, the work depicts Graziella sitting on a rock, fishing net in hand, gazing over her shoulders at a smoking Mount Vesuvius. The painting is now at the
500:. He thought it one of three novels that must be read to understand the development of emotionalism in French literature, together with Saint-Pierre's
1430:
1126:
1186:
1440:
276:
212:
475:
1381:
1291:
1266:
1116:
1095:
1074:
505:
293:. Since coming to the city, he learns of their fortunes: Andrea and his wife are enjoying bountiful catches, while Graziella has taken up
222:
534:
354:
Premier Regret", a mournful elegy focusing on an overgrown tomb of an unnamed yet still beloved Italian woman. First published in his
346:, a French poet and novelist. As a young man, in 1812 Lamartine had visited Italy, travelling from his home near Mâcon to an abbey in
259:
during a surging September storm, where they spend the night. Here the narrator first meets the fisherman's granddaughter, Graziella.
191:. It tells of a young French man who falls for a fisherman's granddaughter – the eponymous Graziella – during a trip to
33:
1435:
1425:
590:
289:
Graziella's care, revives the narrator's spirits. Reinvigorated, the next day, he goes to Andrea's Neapolitan lodgings in
435:
to mix reality and imagination, and the writer Terence Cave has described the work as only "remotely autobiographical".
380:
93:
1420:
1336:. Columbia University studies in Romance philology and literature. Vol. 21. New York: Columbia University Press.
620:
578:
427:
20:
574:
199:
was first written as a journal and intended to serve as commentary for Lamartine's poem "Le Premier Regret".
1259:
The Preparation of the Novel: Lecture Courses and Seminars at the Collège de France, 1978–1979 and 1979–1980
607:
has been thrice adapted to film. The first production, in 1917, was directed by Mario Gargiulo. The second,
301:
poetry. However, he realizes the extent of his affection for her when, days before Christmas, Graziella is
1130:
297:
carving to earn extra money. When the narrator appears unhappy to leave, they ask him to lodge with them.
1194:
616:
608:
566:
480:
442:. Pirazzini describes Lamartine's descriptions as "splendid ... like a hymn, though the form is prose".
343:
329:
188:
47:
421:
described the change from the tobacco-leaf folder to coral carver as the "sole deviation from fact" in
541:
549:
1318:
582:
417:
467:
within Lamartine's novel, as it is Saint-Pierre's romance which, "awakens Graziella's passion".
366:
1398:
1377:
1358:
1337:
1310:
1287:
1262:
1241:
1222:
1173:
1150:
1112:
1091:
1070:
1047:
628:
446:
302:
134:
1030:
Birkett, Mary Ellen (1985). "Lamartine's "Le Premier Regret": Manuscript, Poem, Commentary".
1039:
281:
217:
670:
510:
306:
227:
1350:
1235:
530:
1331:
325:
172:
556:, has been interpreted by André Le Milinaire as condemning the falsity of family life.
404:
333:
647:
Original: "en s'inspirant d'un des plus poétique récits de Lamartine!" Translation by
492:
The American literary critic Charles Henry Conrad Wright, writing in 1912, considered
1414:
612:
594:
526:
525:
quickly became a part of the French popular culture. On 20 January 1849, librettists
463:
392:
570:
1163:
1043:
1392:
1371:
1277:
1254:
1210:
1106:
1085:
1060:
155:
624:
598:
268:
1261:. European perspectives. New York: Columbia University Press. pp. 426–27.
1087:
Mignon's Afterlives: Crossing Cultures from Goethe to the Twenty-first Century
438:
The beauty of Southern Italy was often shown in Lamartine's works, such as in
378:, based on Lamartine's journal, was serialized beginning on 2 January 1849 in
290:
161:
1402:
1362:
1341:
1314:
1245:
1226:
1154:
1051:
1177:
1301:
Peers, E. Allison (December 1922). "The Fortunes of Lamartine in Spain".
1170:
Dictionary of Living Italian Artists: Painters, Sculptors, and Architects
1165:
Dizionario degli Artisti Italiani Viventi, Pittori, Scultori e Architetti
244:
240:
141:
597:, depicting a scene where Graziella cuts her hair as a sacrifice to the
1322:
272:
256:
1333:
The Influence of Italy on the Literary Career of Alphonse de Lamartine
370:
275:
to her and her family. Though these fall flat, all are interested in
252:
192:
73:
1376:. Cambridge studies in opera. New York: Cambridge University Press.
830:
828:
826:
474:
347:
324:
294:
248:
1172:] (in Italian). Firenze: Tipi dei successori Le Monnier.
135:
407:
of London in 1929. This version included 30 illustrations.
845:
843:
798:
796:
374:
with selling his family home Lamartine agreed to publish.
860:
858:
706:
704:
702:
631:
as the Frenchman Alphonse, was distributed by CEI Incom.
239:
The eighteen-year-old narrator travels from his home in
723:
721:
719:
540:
A reference to the ill-fated Graziella can be found in
877:
875:
873:
813:
811:
533:
debuted their one-act adaptation of the story at the
989:
167:
147:
133:
125:
115:
107:
80:
69:
61:
53:
43:
1059:Caldiron, Orio; Hochkofler, Matilde, eds. (1988).
1013:
834:
565:title character was depicted by the French artist
403:, was translated by Ralph Wright and published by
1162:De Gubernatis, Angelo; Matini, Ugo, eds. (1889).
917:
100:1852 (collected as a novel; Librairie Nouvelle)
1108:The Complete Index to Literary Sources in Film
573:on canvas. Commissioned by the art collector
8:
1129:. Metropolitan Museum of Art. Archived from
977:
693:
681:
153:
26:
1069:] (in Italian). Bari: Edizioni Dedalo.
449:finds a "homological relationship" between
358:(1830), it was later included in the novel
1373:The Sounds of Paris in Verdi's La Traviata
1286:] (in French). Seyssel: Champ Vallon.
864:
671:Graziella -- University of Minnesota Press
32:
25:
965:
953:
941:
849:
787:
763:
751:
739:
1279:Tristan Corbière: La Paresse et le Génie
1185:Guillemin, Angelo (22 September 2013).
1062:Scrivere il cinema: Suso Cecchi d'Amico
929:
905:
775:
710:
663:
640:
365:In the early 1840s, Lamartine's friend
277:Jacques-Henri Bernardin de Saint-Pierre
1357:. Chicago: A. C. McGlurg and Company.
1240:. Chicago: A. C. McGlurg and Company.
727:
623:. This last production, which starred
496:the best of the episodes presented in
187:is an 1852 novel by the French author
1284:Tristan Corbière: Laziness and Genius
1001:
893:
802:
589:, was completed by Neapolitan artist
7:
881:
817:
648:
479:The title character, as depicted by
1090:. Oxford: Oxford University Press.
1067:Writing Cinema: Suso Cecchi d'Amico
16:1852 novel by Alphonse de Lamartine
1397:. Vol. 2. New York: Haskell.
1355:Graziella: A Story of Italian Love
1237:Graziella: A Story of Italian Love
397:Graziella: A Story of Italian Love
356:Harmonies poétiques et religieuses
14:
399:. Another edition, titled simply
1431:French novels adapted into films
1234:de Lamartine, Alphonse (1894) .
990:De Gubernatis & Matini 1889
1441:Works by Alphonse de Lamartine
1394:A History of French Literature
1014:Caldiron & Hochkofler 1988
506:François-René de Chateaubriand
1:
1044:10.1080/03648664.1985.9928319
247:, to Italy, staying first in
1276:Le Milinaire, André (1989).
202:First serialised as part of
87:1849 (serialized as part of
38:Cover, 1905 English edition
1457:
1032:Kentucky Romance Quarterly
992:, pp. 21–22, 439–440.
579:Metropolitan Museum of Art
21:Graziella (disambiguation)
18:
1330:Pirazzini, Agide (1917).
1105:Goble, Alan, ed. (1999).
619:was completed in 1954 by
575:Catharine Lorillard Wolfe
415:In 1871, a writer in the
393:A. C. McClurg and Company
213:Bernardin de Saint-Pierre
117:Published in English
31:
1391:Wright, Charles (1912).
1349:Runnion, James (1894) .
1253:LĂ©ger, Nathalie (2011).
754:, pp. 33–34, 38–39.
1211:"History and Biography"
1191:Encyclopædia Britannica
1187:"Alphonse de Lamartine"
1111:. London: Bowker-Saur.
835:Westminster Review 1871
428:Encyclopædia Britannica
321:Writing and publication
1084:Cave, Terence (2011).
627:in the title role and
587:Graziella di Lamartine
484:
369:visited the author in
336:
154:
1436:French romance novels
1370:Sala, Emilio (2013).
1303:Modern Language Notes
1221:. July–October 1871.
567:Jules Joseph Lefebvre
481:Jules Joseph Lefebvre
478:
387:Graziella's story in
344:Alphonse de Lamartine
330:Alphonse de Lamartine
328:
307:married to her cousin
189:Alphonse de Lamartine
48:Alphonse de Lamartine
1426:Novels set in Naples
585:. Another painting,
542:Jules-Romain Tardieu
76:and surrounding area
19:For other uses, see
1351:"Translator's Note"
918:WorldCat, Graziella
593:and a sculpture by
591:Ferdinando Ruggieri
453:and Saint-Pierre's
206:beginning in 1849,
129:119 (first edition)
28:
1421:1852 French novels
1215:Westminster Review
896:, pp. 464–65.
805:, pp. 426–27.
601:is also recorded.
583:New York, New York
535:Théâtre du Gymnase
485:
418:Westminster Review
337:
279:'s romantic novel
1383:978-1-107-00901-1
1293:978-2-87673-048-9
1268:978-0-231-13614-3
1118:978-1-85739-229-6
1097:978-0-19-960480-7
1076:978-88-220-4529-4
978:Le Milinaire 1989
908:, pp. 3, 10.
694:de Lamartine 1894
682:de Lamartine 1894
635:Explanatory notes
629:Jean-Pierre Mocky
554:Les amours jaunes
332:, the author, by
180:
179:
108:Publication place
1448:
1406:
1387:
1366:
1345:
1326:
1297:
1272:
1249:
1230:
1206:
1204:
1202:
1197:on 26 April 2015
1193:. Archived from
1181:
1158:
1142:
1140:
1138:
1133:on 30 March 2015
1122:
1101:
1080:
1055:
1017:
1011:
1005:
999:
993:
987:
981:
975:
969:
963:
957:
951:
945:
939:
933:
927:
921:
915:
909:
903:
897:
891:
885:
879:
868:
862:
853:
847:
838:
832:
821:
815:
806:
800:
791:
785:
779:
773:
767:
761:
755:
749:
743:
737:
731:
725:
714:
713:, pp. 7–10.
708:
697:
691:
685:
679:
673:
668:
652:
645:
564:
550:Tristan Corbière
502:Paul et Virginie
459:Paul et Virginie
455:Paul et Virginie
395:under the title
282:Paul et Virginie
218:Paul et Virginie
159:
137:
36:
29:
1456:
1455:
1451:
1450:
1449:
1447:
1446:
1445:
1411:
1410:
1409:
1390:
1384:
1369:
1348:
1329:
1300:
1294:
1275:
1269:
1252:
1233:
1209:
1200:
1198:
1184:
1161:
1145:
1136:
1134:
1125:
1119:
1104:
1098:
1083:
1077:
1058:
1029:
1025:
1020:
1012:
1008:
1000:
996:
988:
984:
976:
972:
964:
960:
952:
948:
940:
936:
928:
924:
916:
912:
904:
900:
892:
888:
880:
871:
863:
856:
848:
841:
833:
824:
816:
809:
801:
794:
786:
782:
774:
770:
762:
758:
750:
746:
738:
734:
726:
717:
709:
700:
692:
688:
680:
676:
669:
665:
661:
656:
655:
651:, p. 103).
646:
642:
637:
621:Giorgio Bianchi
562:
546:Mignon, légende
520:
498:Les Confidences
490:
473:
433:Les Confidences
413:
389:Les Confidences
376:Les Confidences
367:Eugène Pelletan
342:was written by
323:
237:
204:Les Confidences
150:
118:
103:
89:Les Confidences
39:
24:
17:
12:
11:
5:
1454:
1452:
1444:
1443:
1438:
1433:
1428:
1423:
1413:
1412:
1408:
1407:
1388:
1382:
1367:
1346:
1327:
1309:(8): 458–465.
1298:
1292:
1273:
1267:
1250:
1231:
1207:
1182:
1159:
1143:
1123:
1117:
1102:
1096:
1081:
1075:
1056:
1026:
1024:
1021:
1019:
1018:
1016:, p. 125.
1006:
1004:, p. 785.
994:
982:
970:
966:Pirazzini 1917
958:
954:Guillemin 2013
946:
942:Pirazzini 1917
934:
922:
910:
898:
886:
884:, p. 103.
869:
865:Met, Graziella
854:
850:Pirazzini 1917
839:
837:, p. 549.
822:
820:, p. 127.
807:
792:
788:Pirazzini 1917
780:
778:, p. 331.
768:
764:Pirazzini 1917
756:
752:Pirazzini 1917
744:
740:Pirazzini 1917
732:
730:, p. 670.
715:
698:
696:, p. 185.
686:
684:, p. 161.
674:
662:
660:
657:
654:
653:
639:
638:
636:
633:
611:, was made by
544:'s 1857 novel
519:
516:
489:
486:
472:
469:
447:Nathalie LĂ©ger
412:
409:
405:Nonesuch Press
334:Henri Decaisne
322:
319:
236:
233:
178:
177:
169:
165:
164:
151:
148:
145:
144:
139:
131:
130:
127:
123:
122:
119:
116:
113:
112:
109:
105:
104:
102:
101:
98:
84:
82:
78:
77:
71:
67:
66:
63:
59:
58:
55:
51:
50:
45:
41:
40:
37:
15:
13:
10:
9:
6:
4:
3:
2:
1453:
1442:
1439:
1437:
1434:
1432:
1429:
1427:
1424:
1422:
1419:
1418:
1416:
1404:
1400:
1396:
1395:
1389:
1385:
1379:
1375:
1374:
1368:
1364:
1360:
1356:
1352:
1347:
1343:
1339:
1335:
1334:
1328:
1324:
1320:
1316:
1312:
1308:
1304:
1299:
1295:
1289:
1285:
1281:
1280:
1274:
1270:
1264:
1260:
1256:
1255:"Footnote 33"
1251:
1247:
1243:
1239:
1238:
1232:
1228:
1224:
1220:
1216:
1212:
1208:
1196:
1192:
1188:
1183:
1179:
1175:
1171:
1167:
1166:
1160:
1156:
1152:
1148:
1144:
1132:
1128:
1124:
1120:
1114:
1110:
1109:
1103:
1099:
1093:
1089:
1088:
1082:
1078:
1072:
1068:
1064:
1063:
1057:
1053:
1049:
1045:
1041:
1038:(4): 341–46.
1037:
1033:
1028:
1027:
1022:
1015:
1010:
1007:
1003:
998:
995:
991:
986:
983:
980:, p. 33.
979:
974:
971:
968:, p. 28.
967:
962:
959:
955:
950:
947:
944:, p. 17.
943:
938:
935:
931:
926:
923:
919:
914:
911:
907:
902:
899:
895:
890:
887:
883:
878:
876:
874:
870:
866:
861:
859:
855:
852:, p. 31.
851:
846:
844:
840:
836:
831:
829:
827:
823:
819:
814:
812:
808:
804:
799:
797:
793:
790:, p. 30.
789:
784:
781:
777:
772:
769:
766:, p. 37.
765:
760:
757:
753:
748:
745:
742:, p. 32.
741:
736:
733:
729:
724:
722:
720:
716:
712:
707:
705:
703:
699:
695:
690:
687:
683:
678:
675:
672:
667:
664:
658:
650:
644:
641:
634:
632:
630:
626:
622:
618:
614:
613:Marcel Vandal
610:
606:
602:
600:
596:
595:Cesare Aureli
592:
588:
584:
580:
576:
572:
568:
561:
557:
555:
551:
547:
543:
538:
536:
532:
528:
527:Jules Barbier
524:
517:
515:
513:
512:
507:
503:
499:
495:
487:
482:
477:
470:
468:
466:
465:
461:as appearing
460:
456:
452:
448:
443:
441:
436:
434:
430:
429:
424:
420:
419:
410:
408:
406:
402:
398:
394:
390:
385:
383:
382:
377:
372:
368:
363:
361:
357:
351:
349:
345:
341:
335:
331:
327:
320:
318:
314:
310:
308:
304:
298:
296:
292:
286:
284:
283:
278:
274:
270:
264:
260:
258:
254:
250:
246:
242:
234:
232:
230:
229:
224:
223:Chateaubriand
220:
219:
214:
209:
205:
200:
198:
194:
190:
186:
185:
175:
174:
170:
166:
163:
158:
157:
152:
149:Original text
146:
143:
140:
138:
132:
128:
124:
120:
114:
110:
106:
99:
96:
95:
90:
86:
85:
83:
79:
75:
72:
68:
64:
60:
57:James Runnion
56:
52:
49:
46:
42:
35:
30:
22:
1393:
1372:
1354:
1332:
1306:
1302:
1283:
1278:
1258:
1236:
1218:
1214:
1199:. Retrieved
1195:the original
1190:
1169:
1164:
1149:. WorldCat.
1146:
1135:. Retrieved
1131:the original
1107:
1086:
1066:
1061:
1035:
1031:
1009:
997:
985:
973:
961:
949:
937:
932:, p. 7.
930:Runnion 1894
925:
913:
906:Runnion 1894
901:
889:
783:
776:Birkett 1985
771:
759:
747:
735:
711:Runnion 1894
689:
677:
666:
643:
604:
603:
586:
571:oil painting
559:
558:
553:
545:
539:
531:Michel Carré
522:
521:
509:
501:
497:
493:
491:
462:
458:
454:
450:
444:
439:
437:
432:
426:
422:
416:
414:
400:
396:
388:
386:
379:
375:
364:
359:
355:
352:
339:
338:
315:
311:
299:
287:
280:
265:
261:
238:
226:
216:
207:
203:
201:
196:
183:
182:
181:
171:
92:
88:
1127:"Graziella"
1023:Works cited
728:Wright 1912
625:Maria Fiore
599:Virgin Mary
569:in an 1878
508:'s novella
445:The writer
269:Ugo Foscolo
225:'s novella
221:(1788) and
168:Translation
70:Set in
1415:Categories
1002:Goble 1999
894:Peers 1922
803:LĂ©ger 2011
659:References
649:Cave (2011
537:in Paris.
291:Mergellina
162:Wikisource
160:at French
54:Translator
27:Graziella
1403:633285383
1363:679809836
1342:576228713
1315:0026-7910
1246:679809836
1227:2044-6853
1155:561601121
1147:Graziella
1052:0023-0332
882:Cave 2011
818:Sala 2013
617:The third
605:Graziella
560:Graziella
523:Graziella
494:Graziella
471:Reception
451:Graziella
440:Graziella
423:Graziella
401:Graziella
381:La Presse
360:Graziella
340:Graziella
215:'s novel
208:Graziella
197:Graziella
184:Graziella
173:Graziella
156:Graziella
94:La Presse
81:Published
518:Cultural
514:(1801).
488:Critical
464:en abyme
411:Analysis
303:arranged
245:Burgundy
142:78282173
62:Language
1323:2914862
1201:6 March
1178:9671299
1137:4 March
609:in 1926
273:Tacitus
257:Procida
251:, then
1401:
1380:
1361:
1340:
1321:
1313:
1290:
1265:
1244:
1225:
1176:
1153:
1115:
1094:
1073:
1050:
563:'s
483:(1878)
431:finds
371:Ischia
305:to be
253:Naples
193:Naples
176:online
111:France
74:Naples
65:French
44:Author
1319:JSTOR
1282:[
1168:[
1065:[
511:Atala
348:Cluny
295:coral
241:Mâcon
228:Atala
126:Pages
1399:OCLC
1378:ISBN
1359:OCLC
1338:OCLC
1311:ISSN
1288:ISBN
1263:ISBN
1242:OCLC
1223:ISSN
1203:2015
1174:OCLC
1151:OCLC
1139:2015
1113:ISBN
1092:ISBN
1071:ISBN
1048:ISSN
529:and
504:and
271:and
249:Rome
235:Plot
136:OCLC
121:1875
1040:doi
581:in
1417::
1353:.
1317:.
1307:37
1305:.
1257:.
1219:XL
1217:.
1213:.
1189:.
1046:.
1036:32
1034:.
872:^
857:^
842:^
825:^
810:^
795:^
718:^
701:^
615:.
243:,
91:;
1405:.
1386:.
1365:.
1344:.
1325:.
1296:.
1271:.
1248:.
1229:.
1205:.
1180:.
1157:.
1141:.
1121:.
1100:.
1079:.
1054:.
1042::
956:.
920:.
867:.
97:)
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
