List of figures

Figure 1: Fourteen theses on networks. Content and image by Birgit Tautz and Crystal Hall. 26

Figure 2: Network diagram of French salon attendance, 1700–1830. Data from Conroy and Edmondson, The Salons Project. Nodes are salon attendees; edges signify that two individuals attended the same salon. Node size and color indicate degree (larger, darker nodes co-attended salons with more individuals). Layout highlights individuals who are connected to one another. Visual created by Melanie Conroy. 47

Figure 3: Map of 137 nineteenth-century salons in France. Data from Melanie Conroy, 19th-Century Networks. Black dots indicate salons, sized by frequency of occurrence at that location. Salons are circled according to host: Mme de Staël (red), Mme Récamier (blue), and Sophie Gay (purple). The largest black dots, not circled, are the Paris salons. Visual created by Melanie Conroy. 50

Figure 4: Johann Christian Reinhart, Der Sturm, eine heroische, Schillern dedicirte Landschaft (The Storm: a heroic landscape dedicated to Schiller), 1800. Etching on laid paper, 16 × 20 1/2 inches. (Courtesy of Philadelphia Museum of Art: The Muriel and Philip Berman Gift, acquired from the John S. Phillips bequest of 1876 to the Pennsylvania Academy of the Fine Arts, with funds contributed by Muriel and Philip Berman, gifts (by exchange) of Lisa Norris Elkins, Bryant W. Langston, Samuel S. White 3rd and Vera White, with additional funds contributed by John Howard McFadden, Jr., Thomas Skelton Harrison, and the Philip H. and A. S. W. Rosenbach Foundation, 1985, 1985-52-19648) 76

Figure 5: Johann Christian Reinhart, Albert Christoph Dies, and Jacob Mechau, Collection, ou Suite de vues pittoresques de l’Italie, 1798. Cover of the portfolio of seventy-two etchings with text pages. National Gallery of Art, Washington, DC, New Century Fund, 2003.86.1-71. (Open access) 82

Figure 6: Giovanni Battista Piranesi, Arco di Costantino, 1748. Etching on laid paper, 5 1/16 × 10 5/16 inches (plate). National Gallery of Art, Washington, DC, Edward E. MacCrone Fund and the Eugene L. and Marie-Louise Garbáty Fund, 2002.66.1.9. (Open access) 83

Figure 7: Giovanni Battista Piranesi, For di Augusto, 1748. Etching on laid paper, 5 1/4 × 10 9/16 inches (plate). National Gallery of Art, Washington, DC, Edward E. MacCrone Fund and the Eugene L. and Marie-Louise Garbáty Fund, 2002.66.1.15. (Open access) 83

Figure 8: Johann Christian Reinhart, Pallazzola, 1792. Etching on laid paper, 11 × 14 3/4 inches (plate). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.26. (Open access) 84

Figure 9: Johann Christian Reinhart, Sepolcro volgarmente detto degli Orazii e Curiazii a Albano, 1795. Etching on laid paper, 11 1/16 × 14 15/16 inches (plate). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.20. (Open access) 85

Figure 10: Johann Christian Reinhart, A Subiaco, 1794. Etching on laid paper, 15 × 11 3/16 inches (plate). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.35. (Open access) 86

Figure 11: Johann Christian Reinhart, A Cività Castellana, 1794. Etching on laid paper, 11 × 14 3/4 inches (plate). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.38. (Open access) 93

Figure 12: Albert Christoph Dies, Terme di Caracalla, 1793. Etching on laid paper, 10 11/16 × 14 3/4 inches (plate). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.7. (Open access) 93

Figure 13: Johann Christian Reinhart, Villa Mecenate, 1793. Etching on laid paper, 14 7/8 × 11 1/16 inches (plate). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.69. (Open access) 94

Figure 14: Johann Christian Reinhart, Aricia, 1793. Etching on laid paper, 11 1/4 × 14 13/16 inches (proof). National Gallery of Art, Washington, DC, New Century Fund, 2003.86.25. (Open access) 95

Figure 15: Johann Christian Reinhart, Sturmlandschaft mit zwei Reitern, 1800. Oil on canvas, 14 × 19 3/4 inches. (Copyright: Pommersches Landesmuseum Greifswald)98

Figure 16: Catalogue of products produced and/or sold by the Landes-Industrie-Comptoir (1796). Goethe’s personal copy. Klassik Stiftung Weimar. 118

Figure 17: Excerpt from T. F. Winckler, “Thé literaire beym Bürger Millin in der Nationalbibliothek,” London und Paris 1:2 (1798), 184–87 (186). (Public domain) 121

Figure 18: “North-west aspect of Lackington, Allen and Co. Temple of the muses, Finsbury Square, The finest shop in the world, being 140 feet in front,” from London und Paris 4:8 (1799), no.23. Forschungsbibliothek Gotha. 128

Figure 19: “Temple of the muses,” from London und Paris 4:8 (1799), no.24. Forschungsbibliothek Gotha. 129

Figure 20: “Temple of the muses” (English original), from R. Ackermann’s Repository of arts, literature, commerce, manufactures, fashions, and politics (1809). (Public domain) 130

Figure 21: Detail of shelving labels from “Temple of the muses,” from London und Paris 4:8 (1799), no.24. Forschungsbibliothek Gotha. 130

Figure 22: Detail of drawer labels from “Temple of the muses,” from London und Paris 4:8 (1799), no.24. Forschungsbibliothek Gotha. 130

Figure 23: Excerpt from “Beschluß der Beschreibung des Stationerladens. Quittungsbücher, Lineale, Huswifes und dergl.,” London und Paris 7:1 (1801), 112. (Public domain) 133

Figure 24: Bar plot of the languages represented in the titles in James Bowdoin III’s library collection. Titles published in fifty pages or fewer are considered short form (bound volumes of serial publications are treated as long form since they are organized by an editor). Created by Crystal Hall. 162

Figure 25: Network visualization of Library of Congress subject headings in James Bowdoin III’s library collection. Nodes are subject headings; edges indicate co-appearance in a book’s metadata. Color indicates modularity (highly interconnected groups of subject headings). Node size indicates degree (number of connections to other subject headings). Edge thickness indicates relative number of times that connection appears in the collection. Created by Crystal Hall. 169

Figure 26: Subset of the network of Library of Congress subject headings in James Bowdoin III’s collection. Includes nodes that use nominal or adjectival forms of European countries. Color version. Label size and node size have no symbolic value. The layout was created manually for legibility. Created by Crystal Hall. 172

Figure 27: Excerpt from Thomas Nugent, The Grand Tour: containing an exact description of most of the cities, towns, and remarkable places of Europe: together with a distinct account of the post-roads and stages, with their respective distances […] likewise directions relating to the manner and expence of travelling from one place and country to another, as also occasional remarks on […] each respective country, 4 vols. (London, Printed for S. Birt, D. Browne, A. Millar, and G. Hawkins, 1749), vol.2, p.122–23. (Public domain) 213

Figure 28a: Excerpt from Die vornehmsten Europäischen Reisen, ed. Peter Ambrosius Lehmann (Hamburg, Lehmann, 1703), p.4–5. (Public domain) 215

Figure 28b: Excerpt from Thomas Nugent, The Grand Tour, vol.2, p.260–61. (Public domain) 215

Figure 29: Map of cities along routes in Thomas Nugent’s The Grand Tour. Size indicates number of routes that include the city. Visual created by Karin Baumgartner. 220

Figure 30: Map of cities along routes in four different French travel guides: César-François Cassini, Relation d’un voyage en Allemagne […] depuis 1745 jusqu’en 1748 (Paris, Imprimerie royale, 1775) (purple); Journal d’un voyage en Allemagne et en Prusse, fait en 1773, ed. Jacques-Antoine-Hippolyte Guibert and François E. Toulongeon (Paris, 1803) (blue); Alphonse- Toussaint-Joseph-André-Marie-Marseille Fortia de Piles and Pierre-Marie-Louis de Boisgelin de Kerdu, Voyage de deux Français en Allemagne, Danemark, Suède, Russie et Pologne, fait en 1790, 1792 (Paris, Desenne, 1796) (orange); and the anonymous Voyage en Allemagne et en Pologne, commencé en 1776 par M. de L.S.M.A.S.D.P. (green). Visual created by Karin Baumgartner. 221

Figure 31: Map of cities along routes in travel guides written by British Romantics: Ann Radcliffe’s A Journey made in the summer of 1794, through Holland and the western frontier of Germany, with a return down the Rhine: to which are added, observations during a tour to the lakes of Lancashire, Westmoreland, and Cumberland (London, printed for G. G. and J. Robinson, 1795) (red); and Charles Dodd, An Autumn near the Rhine, or Sketches of courts, society, and scenery in Germany, with a tour in the Taunus Mountains in 1820 (London, 1821) (blue). Visual created by Karin Baumgartner. 222

Figure 32: Map of cities along routes in John Russel’s A Tour in Germany, and some of the southern provinces of the Austrian empire, in the years 1820, 1821, 1822 (Edinburgh, 1824), with Giant Mountains circled. Visual created by Karin Baumgartner. 223

Figure 33: Map of cities along routes in John Moore’s A View of society and manners in France, Switzerland, and Germany, with anecdotes relating to some eminent characters (London, Strahan & Cadell, 1783) (red; the map indicates the year in which the trip took place: 1772); and John Russel’s A Tour in Germany (orange). Size indicates the number of times a city is mentioned. Visual created by Karin Baumgartner. 224

Figure 34: Network visualization of connections in volume 1 of the critical edition of Beethoven’s conversation notebooks. Nodes represent individuals who are named or identified as scribes; edges indicate that the two individuals appear on the same page of the edited volume. Color indicates modularity (interconnectedness of people). Size indicates degree (number of connections). Data from Ludwig van Beethovens Konversationshefte, ed. Karl-Heinz Köhler et al., 11 vols. (Leipzig, 1972–2001), vol.1. Visual created by Crystal Hall. 241

Figure 35: Network visualization of connections in volume 11 of the critical edition of Beethoven’s conversation notebooks. Nodes represent individuals who are named or identified as scribes; edges indicate that the two individuals appear on the same page of the edited volume. Data from Köhler et al., Ludwig van Beethovens Konversationshefte, vol.11. Visual created by Peter Höyng and Emory Center for Digital Scholarship. 245

Figure 36: Network diagram of non-stop word terms used in article titles in the database Journals of the German Enlightenment, 1750–1815. Color coding indicates terms used only in literary journals (red) and only in scientific journals (blue). Size indicates degree (number of connections to other terms). Visual created by Matt Erlin and Melanie Walsh. 265

Figure 37: Network diagram of non-stop word terms used in article titles in the database Journals of the German Enlightenment, 1750–1815. Size indicates degree (number of connections to other terms). As opposed to Figure 36, this graph is formatted to emphasize bridging terms, those used in article titles in both scientific and literary journals. Visual created by Matt Erlin and Melanie Walsh. 267

Figure 38a: Inset of Figure 36, network diagram of non-stop word terms used in article titles in the database Journals of the German Enlightenment, 1750–1815. Size indicates degree. Ego network of “Beobacht” highlighted. Visual created by Matt Erlin and Melanie Walsh. 272

Figure 38b: Inset of Figure 36, network diagram of non-stop word terms used in article titles in the database Journals of the German Enlightenment, 1750–1815. Size indicates degree. Ego network of “Betracht” highlighted. Visual created by Matt Erlin and Melanie Walsh. 272

Figure 38c: Inset of Figure 36, network diagram of non-stop word terms used in article titles in the database Journals of the German Enlightenment, 1750–1815. Size indicates degree. Ego network of “Bildung” highlighted. Visual created by Matt Erlin and Melanie Walsh. 273

Figure 39: Bar chart of the publications that use Kosmopolit* (black) and Weltbürger (gray) in the Zeitschriften der Aufklärung (Journals of the Enlightenment) database 1760–1829, divided by decade. Visual created by Quyen Ha. 289

List of tables

Table 1: Pre- and postrevolutionary French salons, 1750–1830. 33

Table 2: Documented members of pre- and postrevolutionary French salons and their networks. 39

Table 3: Knowledge networks in pre- and postrevolutionary French salons. 42

Table 4: Nationalities in pre- and postrevolutionary French salons. 52

Table 5: Most prominent topics in fifty-topic model of titles in James Bowdoin III’s library. 174

Table 6: Topics related to translation in fifty-topic model of James Bowdoin III’s library. 175