The Annotated Edition
After Reading Trollope's History of Florence by Eugene Field
Eugene Field invites us on a whimsical midnight stroll through Renaissance Florence, inspired by a history book.
- Poet
- Eugene Field
- Core theme
- Art
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
My books are on their shelves again / And clouds lie low with mist and rain.
Editor's note
Field sets the scene at home, late at night, after finishing a book, with rain falling outside. The mood feels introspective and slightly melancholic — the physical surroundings (shelves, clouds, rain) seamlessly blend into the imagined world of Florence. The Arno, the river flowing through Florence, is described as "murmuring," indicating that the poem's setting is already moving from the speaker's room to Renaissance Italy.
Beneath great Giotto's Campanile / The gray ghosts throng; their whispers steal
Editor's note
Giotto's Campanile is the well-known bell tower beside Florence's cathedral. The "gray ghosts" refer to the spirits of Renaissance poets and artists, who are welcoming the speaker to join them. Field depicts this scene not as a terrifying haunting but as a cozy, almost secretive gathering — the dead are eager for companionship.
The rain falls on Ghiberti's gates; / The big drops hang on purple dates;
Editor's note
Ghiberti's Gates of Paradise are the gilded bronze doors of the Florence Baptistery, renowned as one of the standout masterpieces of the early Renaissance. Rain falling on those iconic doors creates a quietly beautiful scene—transforming something monumental into something more intimate through the weather. The ilex-shades (evergreen oak trees) and the "trysting-place for boys and maids" add a gentle touch to the view, and then there's Beatrice, Dante’s idealized love, easily recognized by her golden hair.
The breath of lands or lilied streams / Floats through the fabric of my dreams;
Editor's note
The speaker is now completely immersed in the dream-vision. Dante appears, guiding Beatrice through blooming meadows — a clear reflection of the *Divine Comedy*, where Dante journeys alongside his beloved in paradise. The "hills of song," where "psalmists brood and prophets throng," merge the biblical realm with the Florentine landscape, indicating that significant art and profound faith share the same creative imagination.
Along the almond walks I tread / And greet the figures of the dead.
Editor's note
The speaker is now walking among the ghosts. Pico della Mirandola ("Mirandula"), the Renaissance philosopher known for trying to bridge all philosophies with Christianity, stands next to Vittoria Colonna, the poet and close friend of Michelangelo. The stanza concludes with Michelangelo himself stepping in Colonna's footsteps — a detail rooted in history, as he was deeply devoted to her.
In Rome or Florence, still with her / Stands lone and grand her worshipper.
Editor's note
This continues the Michelangelo-Colonna pairing: wherever she goes, he remains her devoted admirer. The focus then shifts to Leonardo da Vinci, whose mind holds images of Christ and children — referencing works like *The Last Supper* and *Virgin of the Rocks*. Finally, Raphael appears, gently touching an angel's face for the last time, capturing a poignant moment of a great artist at the very end of his creative journey.
Angelico is praying yet / Where lives no pang of man's regret,
Editor's note
Fra Angelico, the Dominican friar and painter, is depicted in deep devotion—mixing tears and prayers into his palette. San Marco is the Florentine monastery where he created his renowned frescoes, and the "angel faces" refer to those frescoes, which still radiate beauty. Field portrays Angelico as someone who seems to have transcended ordinary human suffering, painting from a source of divine grace.
Within Lorenzo's garden green, / Where olives hide their boughs between,
Editor's note
Lorenzo de' Medici's garden was the renowned sculpture garden where a young Michelangelo honed his skills. Here, lovers would read Petrarch's love sonnets next to ancient Roman marbles. The "lost shades that search in vain for home" refer to the classical statues, envisioned as souls adrift from their original Roman context. This evokes a sense of melancholy about the gap between the ancient world and the Renaissance that sought to revive it.
They pace the paths along the stream, / Dark Vallombrosa in their dream.
Editor's note
Vallombrosa is a wooded mountain escape close to Florence, notable enough that Milton referenced it in *Paradise Lost*. The lovers stroll and sing about "Tuscan gold" — the warm, amber glow that Renaissance artists used to light up saints' faces. Field is blending visual art, landscape, and music into one rich sensory experience of what it was like to be alive in that era.
But lo, within the walls of gray, / E're yet there falls a glint of day,
Editor's note
The mood shifts dramatically. Dawn is nearing, and a prophetic voice pierces the pastoral dream. The mention of Gadara brings to mind the biblical story of a man possessed by demons whom Jesus healed — a location tied to a sense of doom and supernatural power. The nightingale ceases its song, and Lorenzo de' Medici himself stands at his palace gates, infusing the dream with an unsettling tension.
Some Romola in passing by / Turns toward the ruler, and his sigh
Editor's note
"Romola" refers to George Eliot's 1863 novel set in Renaissance Florence, where the heroine represents the city's moral core. In this story, she personifies Florence, cautioning Lorenzo about the looming threat posed by Savonarola, the fiery Dominican friar of San Marco, who foretells disaster. The picturesque "myrtle bowers" and "mantled towers" add beauty to the setting, even as the message remains grim.
"Her liberties," he cries, "restore! / This much for Florence--yea, and more
Editor's note
Savonarola's voice calls for the restoration of Florence's political freedoms, urging the city to answer to both God and men. As dawn breaks, the vision fades, leaving the speaker standing beneath cypress trees — the traditional symbol of mourning in Italian landscapes — still trembling from the prophet's words. The poem concludes not with solace but with the unsettling echo of history's unfulfilled demands.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Rain and mist
- Rain is a central theme in the poem, appearing right from the start and reappearing throughout. It creates a soft blend between the speaker's current surroundings and the Florence of yesteryear, giving the imagery a mix of reality and dreaminess. Additionally, the rain brings a subtle sadness — the grayness of the world outside prompts a reflective journey into memory and history.
- Ghiberti's Gates
- The Gates of Paradise stand out as one of the crowning achievements of Renaissance art, and the rain falling on them reflects Field's message that even the most remarkable human creations face the effects of time and weather. They also serve as a tangible threshold — gates — ushering us into the poem's dream-like realm.
- Beatrice's golden hair
- Beatrice is Dante's idealized love and serves as his guide through paradise in the *Divine Comedy*. Her presence, noted solely by her iconic golden hair, indicates that the Florence depicted in the poem transcends the historical city; it represents an artistic and literary Florence — a realm where love and spiritual yearning intertwine.
- Cypress trees
- Cypress trees close the poem with a powerful image. In Italian culture, they symbolize mourning and are often found in cemeteries, and in this context, they "shiver" with the prophet's messages. They embody the tension between the poem's beauty and its caution — positioned at the brink of dawn, balancing between the dream-like realm of the dead and the vibrant life of the day.
- Angelico's palette
- Fra Angelico blending tears and prayers into his paint reflects Field's view of art as an expression of faith instead of mere craftsmanship. The palette transforms into a sort of altar. This symbol lies at the core of the poem's message: the finest Florentine art cannot be separated from devotion, and it is this devotion that imparts enduring strength to the work.
- The prophetic voice
- Savonarola's voice, reminiscent of the voice from Gadara in the Gospels, highlights the moral reckoning that lurks behind Florence's beauty. The Renaissance city was more than just art and love poetry; it was also marked by political corruption. Savonarola's powerful call for justice serves as the poem's reminder that the dream cannot be entirely comfortable.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Who is the prophet at the end of the poem?
The prophet is Girolamo Savonarola, a Dominican friar known for his fiery sermons in Florence during the 1490s. He called for political reform and condemned the Medici and the Church for their corruption. Savonarola is associated with San Marco, the monastery where Fra Angelico created his frescoes. He eventually led a popular uprising that expelled the Medici from Florence. Field draws a parallel between his voice and that of the one heard at Gadara in the Gospels, connecting him to biblical prophecy.
What is Trollope's History of Florence and why does it matter to the poem?
Thomas Adolphus Trollope, the brother of novelist Anthony Trollope, penned a four-volume history of Florence published in 1865. This work explored the city's political and cultural life in great depth, transporting readers' imaginations right into the heart of the Renaissance. Field's poem captures the thoughts that filled his mind after finishing the book — the history transformed into a dream.
Who is Romola?
Romola is the main character in George Eliot's 1863 novel, which takes place in Renaissance Florence during Savonarola's era. In the poem, Field uses her name to represent Florence itself — a woman who personifies the city's conscience and approaches Lorenzo de' Medici to alert him that Savonarola's prophecy of doom is indeed true.
Why does the nightingale stop singing?
The nightingale's silence signals the shift from beauty to dread in the dream-vision. In the poem, Field travels through a Florence filled with art, love, and devotion. When the prophetic voice emerges, the bird falls silent — even nature acknowledges that a greater and more serious force is at play.
What are Ghiberti's Gates?
Lorenzo Ghiberti's Gates of Paradise are the ornate bronze doors of the Florence Baptistery, finished in 1452. Michelangelo reportedly described them as deserving to be the gates of paradise, which inspired their name. These doors are a hallmark of early Renaissance sculpture, and Field employs them as a threshold image — the gateway into the dream-world of the poem.
What is the connection between Michelangelo and Vittoria Colonna?
Vittoria Colonna was a renowned Italian poet and one of Michelangelo's closest friends during his later years. He composed sonnets for her and created drawings as gifts. Their bond was rooted in deep spiritual and intellectual devotion rather than romantic love, and Field captures this perfectly: Michelangelo is portrayed as her solitary and devoted worshipper, following her wherever she goes.
Why does Field describe Fra Angelico as mixing tears and prayers into his palette?
Fra Angelico was a Dominican friar who is said to have prayed before he painted and cried while illustrating the Crucifixion. Field transforms this historical tradition into a symbol: Angelico's art isn't distinct from his faith; it is, in fact, made from it. His tears and prayers become his pigments. This represents Field's most focused expression of the poem's main idea—that the finest art in Florence was an act of devotion.
Is this poem a dream or is the speaker awake?
Field intentionally leaves this vague. The speaker waits for dawn after spending the night reading, experiencing visions in that hazy state between sleep and wakefulness where imagination and reality blur. By the last stanza, he finds himself beneath cypress trees at dawn—this could represent the real dawn outside his window or the dawn awakening within the dream. The strength of the poem lies in Field's refusal to answer the question.
Citation
Cite this poem
MLA
Field, Eugene. "After Reading Trollope's History of Florence." Storgy, https://storgy.com/poems/after-reading-trollopes-history-of-florence-eugene-field/.
APA
Field, E. (n.d.). After reading trollope's history of florence. Storgy. https://storgy.com/poems/after-reading-trollopes-history-of-florence-eugene-field/
Row A — Thesis
1 ptEugene Field's "After Reading Trollope's History of Florence" enacts the paradox of historical imagination: the speaker's immersion in Renaissance Florence does not console him with the permanence of beauty but instead delivers him to the …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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