The cover page is adapted from Cimabue’s Celebrated Madonna, a painting completed in 1855 by Frederic Leighton. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/Frederic_Leightonwww.theleagueofmoveabletype.com/
Romola
Chapitres (74)
- Proem 0:00
- Book I: I: The Shipwrecked Stranger 20:04
- Book I — II: Breakfast for Love 55:54
- Book I — III: The Barber’s Shop 1:07:24
- Book I — IV: First Impressions 1:39:16
- Book I — V: The Blind Scholar and His Daughter 1:48:50
- Book I — VI: Dawning Hopes 2:26:54
- Book I — VII: A Learned Squabble 3:10:46
- Book I — VIII: A Face in the Crowd 3:26:38
- Book I — IX: A Man’s Ransom 4:01:14
- Book I — X: Under the Plane-Tree 4:21:17
- Book I — XI: Tito’s Dilemma 4:52:04
- Book I — XII: The Prize Is Nearly Grasped 5:02:04
- Book I — XIII: The Shadow of Nemesis 5:35:44
- Book I — XIV: The Peasants’ Fair 5:54:28
- Book I — XV: The Dying Message 6:33:40
- Book I — XVI: A Florentine Joke 6:57:59
- Book I — XVII: Under the Loggia 7:34:08
- Book I — XVIII: The Portrait 7:52:34
- Book I — XIX: The Old Man’s Hope 8:09:15
- Book I — XX: The Day of the Betrothal 8:19:47
- Book II: XXI: Florence Expects a Guest 8:45:07
- Book II — XXII: The Prisoners 9:05:30
- Book II — XXIII: Afterthoughts 9:25:05
- Book II — XXIV: Inside the Duomo 9:33:44
- Book II — XXV: Outside the Duomo 9:51:37
- Book II — XXVI: The Garment of Fear 10:03:51
- Book II — XXVII: The Young Wife 10:17:14
- Book II — XXVIII: The Painted Record 10:44:12
- Book II — XXIX: A Moment of Triumph 10:56:35
- Book II — XXX: The Avenger’s Secret 11:14:55
- Book II — XXXI: Fruit Is Seed 11:40:13
- Book II — XXXII: A Revelation 11:53:51
- Book II — XXXIII: Baldassarre Makes an Acquaintance 12:20:34
- Book II — XXXIV: No Place for Repentance 12:42:19
- Book II — XXXV: What Florence Was Thinking Of 13:14:06
- Book II — XXXVI: Ariadne Discrowns Herself 13:23:34
- Book II — XXXVII: The Tabernacle Unlocked 13:51:54
- Book II — XXXVIII: The Black Marks Become Magical 14:03:01
- Book II — XXXIX: A Supper in the Rucellai Gardens 14:20:07
- Book II — XL: An Arresting Voice 15:05:06
- Book II — XLI: Coming Back 15:28:05
- Book III: XLII: Romola in Her Place 15:36:12
- Book III — XLIII: The Unseen Madonna 15:55:35
- Book III — XLIV: The Visible Madonna 16:12:39
- Book III — XLV: At the Barber’s Shop 16:27:13
- Book III — XLVI: By a Street Lamp 16:50:45
- Book III — XLVII: Check 17:11:57
- Book III — XLVIII: Countercheck 17:20:13
- Book III — XLIX: The Pyramid of Vanities 17:36:20
- Book III — L: Tessa Abroad and at Home 17:51:42
- Book III — LI: Monna Brigida’s Conversion 18:18:46
- Book III — LII: A Prophetess 18:32:16
- Book III — LIII: On San Miniato 18:50:18
- Book III — LIV: The Evening and the Morning 19:04:25
- Book III — LV: Waiting 19:13:04
- Book III — LVI: The Other Wife 19:22:21
- Book III — LVII: Why Tito Was Safe 19:52:52
- Book III — LVIII: A Final Understanding 20:08:53
- Book III — LIX: Pleading 20:22:31
- Book III — LX: The Scaffold 20:46:37
- Book III — LXI: Drifting Away 21:03:03
- Book III — LXII: The Benediction 21:15:19
- Book III — LXIII: Ripening Schemes 21:27:47
- Book III — LXIV: The Prophet in His Cell 21:56:43
- Book III — LXV: The Trial by Fire 22:18:50
- Book III — LXVI: A Masque of the Furies 22:39:35
- Book III — LXVII: Waiting by the River 22:50:37
- Book III — LXVIII: Romola’s Waking 23:07:42
- Book III — LXIX: Homeward 23:32:34
- Book III — LXX: Meeting Again 23:40:52
- Book III — LXXI: The Confession 23:53:55
- Book III — LXXII: The Last Silence 24:11:31
- Epilogue 24:19:47
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In the late 15th century, a shipwrecked Greek named Tito Melema arrives in a Florence unsettled by the death of Lorenzo de’ Medici. He swiftly wins friends and favor with his quick wits, lightly worn learning, and good looks. He comes to the attention of the blind old scholar, Bardo de’ Bardi, and becomes his assistant. This throws Melema together with Bardo’s beautiful young daughter, Romola. Almost inevitably, the two seemingly sympathetic young people fall in love.
This is a time when religion and politics are barely distinguishable in Florentine life: while the fiery preaching of Savonarola deepens rifts, a young Machiavelli is active in civic affairs. This combustible backdrop is dangerous for Melema, for he has a hidden past, as well as a treacherous present; and it transpires that Romola’s family has been riven by religious differences.
George Eliot was inspired to write Romola during an extended visit to Florence with her “husband,” George Lewes, in 1860. Eliot immersed herself in the city as she began to imagine a different kind of historical novel from the popular potboilers of her day. The result was this deeply researched and heavily detailed work. Its critical admirers rank it among Eliot’s most important novels, though it never saw much popular success. It’s possible to see in the dynamics of Romola the seeds of ideas and themes which would work out so differently for Dorothea in Middlemarch.