While exploring the collections of the British Museum for items related to Livorno I stumbled upon a series of drawings by Alexander Cozens from 1746 depicting the port and fortifications of Livorno from the extraordinary viewpoint of the lighthouse. In particular I searched for the South view, hoping to see some detail of the Old English Cemetery, and there it was, even though the official description of the image doesn’t mention this fundamental “detail”:
“Drawing from an album, view of the fortifications to the south of Porto Mediceo in Leghorn (Livorno) seen from the lighthouse; left, fortezza di Porta Murata, the separating Fosso Reale and to the right the lazaretto of San Rocco; plain with scattered houses and mountains beyond. Pen and black ink, with watercolour“

While it is true that the image seems quite simplistic and not very realistic, its importance lies in the fact that it was drawn in 1746, exactly when the perimeter wall of the cemetery was erected thanks to the bequest made by merchant Robert Bateman in 1743; so this is the earliest image of the new configuration and the earliest artistic depiction of the cemetery I have been able to find in over 20 years of research.
The official description of the image continues as follows: “From an album of drawings (1867,1012.1-52) made by Alexander Cozens during his visit to Italy c.1746. A note formerly attached to the cover of the album (now mounted separately, 1867,1012.1*) describes the subsequent history of the drawings: ‘Alexander Cozens, in London, Author of these Drawings, lost them & many more, in Germany by their dropping from his Saddle when he was riding in his way from Rome to England, in the year 1746. / John Cozens his Son being at Florence in the year 1776 purchaced them. / When he arrived at London in the year 1779 he delivered the Drawings to his Father.‘ The volume is recorded in the Keeper’s report to the Trustees, October 1867: “From Mrs Smith 10.10.0 [pounds] a volume of 51 pen sketches by A. Cozens. Mentioned by Leslie and Redgrave (A Century of Painters, 1866, I, pp. 377-8) in their respective wks’.”
There are some remarkable connections linking the author of this drawing, Alexander Cozens (1717-1786), his son John Robert (1752-1797), Livorno and the cemetery which I’d like to point out:
Henry Charles William Tremamondo (1756-1835), known as Henry Angelo, son of the Livornese fencing master Angelo Domenico Maria Tremamondo (1717-1802), known as Domenico Angelo, writes in his The reminiscences of Henry Angelo:
“Alexander Cozens was teacher at Eton whilst I was a scholar there. He and my father were coeval professors of their respective arts at this college, and were intimate.”, and also: “…Among these were several of the best works of Cozens, mostly scenes in Italy. Both father and son travelled for the purposes of study from England to that classic region of landscape, and the son stored his portfolios with subjects, which he was appointed to execute for several noblemen and gentlemen, who had travelled thither. The late Lord Warwick, Mr. Richard Payne Knight, and Mr. Beckford were his patrons…”. The “Mr. Beckford” was William Thomas Beckford (1760-1844), the author of the gothic novel Vathek, with whom John Robert Cozens travelled through Italy in 1782-1783, almost forty years after his father did.
So we have the author of this drawing, Alexander Cozens – friend of the Livornese Domenico Angelo, and of William Thomas Beckford with whom his son John Robert would travel through Italy – who visited Livorno in 1746 drawing, among other things, the Old English Cemetery, the same cemetery where, in 1788, 1791 and 1795, three women of the Beckford family would be buried, including the lover of Beckford, Louisa Pitt, her mother Penelope Atkyns, and her daughter Louisa Beckford.
UPDATE: As my contact Andrew Moberly pointed out after the release of this article, I forgot to include another important series of connections: the sister of Alexander Cozens, Sarah, was the grandmother of George Moberley (1803-1895), Bishop of Salisbury, who married Mary Ann Crokat (1812-1890); her mother, sisters, aunt, uncle and other family members were all buried in this cemetery in the 19th. century.
All these connections serve to underline, once again, the important role played by Livorno in the lives of these prominent families over several decades, connections which unravel as a result of the close scrutiny that comes with this kind of research.
This is all of greatest interest, Matteo, and a most significant discovery. Thank you. I hope to visit the protestant cemetery in October to see the Beckford graves of Louisa Beckford and her daughter. Louisa’s husband Peter Beckford (1740-1811) and cousin of the author of Vathek was a far more interesting than she would have one believe – he was not simply a boorish huntsman but a cultivated individual with important works to his name, not least his two volume Familiar Letters from Italy to a Friend in England (1805). I’m not sure that the author of Vathek and Louisa were actually lovers but she was clearly besotted by him. I include part of a letter from her to him that may be unjust to her husband but is clear about her infatuation. The manuscript is held in the Bodleian and the transcription is my own.
Stepleton [Dorset] Wednesday [25 Jan 1782]
My torment is returned and with him every thing my soul most abhors. The more I love you the more I detest him. It’s his curssed power that prevents me from flying into your Arms, and keeps me imprisoned in this Detestable place for from the Object of my Adoration – could my wishes avail, Death and destruction should be showered on his Head my heavy chains should be broken, and I would fly – wild with joy and new tasted liberty to hide my Head in the bosom of my William and conceal a countenance unable to assume the mournful hue of sorrowing widowhood. Sometimes in the Silent Hour of the Night when these Destructive Ideas occur I am plunged into an Abyss of impatience and Misery which is not to be described – one instant I feel myself sufficiently irritated and Courageous to attempt any thing to rescue myself from this hated Thraldom – the next instant the impossibility of pursuing any plan that would not be discovered – the hellish blackness of the Crime,, and fear of Punishment are presented to my Imagination with every aggravating circumstance that can increase my Horror. I see his pale emaciated form at the foot of my Bed – his eyes flashing with Anger and hear his low-faultering voice accusing me of having sent him to his untimely Grave with all his imperfections on his Head and denouncing that vengeance which the consciousness of having deserved would render still more terrifying. I can conceive Crimes but am too timid to execute them, and am persuaded were I ever to commit a premeditated murder, even with the certainty of not being discovered I should ever after experience a Horror which would make life hateful and prevent my reaping the fruits of it.
Thank so much for this delightful citation, Michael! Please get in touch with me closer to October for any news regarding the cemetery as I do not think it will be open yet…
Complimenti per i suoi studi! La seguo con interesse da livornese purosangue, ex insegnante di inglese e di italiano che ha vissuto a poche miglia da Eton! Kind regards Roberta
Inviato da iPad
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Grazie!!
Hi Matteo, that is very interesting, including all the connections.
I have another connection for you…. The Wikipedia entry for Alexander Cozens explains that he is the son of Richard Cozens (1674–1735), who worked for Tsar Peter I as a shipbuilder in St Petersburg. Alexander’s sister Sarah Cozens is my 4 x great grandmother – her grandson George Moberly married Mary Anne Crokat, whose mother, sisters, aunt, uncle and other family are all buried in the old English cemetery in Livorno.
Do you know if the cemetery is scheduled to re-open anytime soon?
Yes Andrew I am aware, my bad I forgot to include it, so I will update the article citing you.