This picture was exhibited in 1850 at the same Free Exhibition, which was moved this year from Hyde Park Corner to Portland Place.
The Pre-Raphaelites were now attacked by the press still more fiercely than before, but they found a champion in Ruskin who took up their defence in a series of letters to the Times, and in so doing laid down an elaborate statement of principles. Thus it came about that the broad and possibly nebulous ideas of the Brethren became transmuted into hard and fast rules, which the young painters had to accept, partly out of gratitude to their benefactor, partly because they agreed with them. Rossetti painted only three pictures strictly according to the Pre-Raphaelite rules. Curiously enough the best genuine Pre-Raphaelite picture is “Work” by Ford Madox Brown, who not believing in cliques refused to join the group.
Round Rossetti were grouped his brother, William Michael, his sister Christina, with Woolner, Collinson, Deverell, Millais, Hunt, Madox Brown, William Bell Scott, and Coventry Patmore. Of all these Hunt and Millais alone showed no inclination for writing. The group naturally formed a school of literary thought of which “The Germ,” originated by Rossetti to propagate the ideas of the P.R.B., was the outcome.
The cumbrous title “Monthly Thoughts in Literature, Poetry, and Art,” was first intended to be the title of this special publication of the brotherhood, but at a meeting held in Rossetti’s studio, 72 Newman Street, in December 1849, when the first number was just ready for publication it was decided to change the name for the simple title “The Germ.” This was proposed by Mr. Cave Thomas, an intimate friend of the group.
To the first number Rossetti contributed “My Sister’s Sleep,” and a prose romance “Hand and Soul.” Following numbers contained “The Blessed Damozel,” “The Carillon,” “Sea limits” (under the title “From the Cliffs”), and several sonnets. Only the first two numbers of the publication were called “The Germ.” The publication was known as “Art and Poetry” in the third and fourth issues.
“The Germ,” as its short career showed, did not meet with success, but it served to establish Rossetti’s reputation among a small group of artists and admirers. Rossetti’s literary contributions were far more matured than his paintings and it is surprising that they did not attract more attention. “Hand and Soul” is specially valuable as bearing a record of psychological experiences which gives a clear glimpse of Rossetti’s mind.
CHAPTER III.
The storm of abuse caused by his two first pictures assisted a natural inclination to give up his first source of religio-mystical inspiration. Gradually the young painter groped his way towards romantic subjects and discovered a rich mine of them in the works of Browning, Dante, Keats, and the “Morte d’Arthur” of Malory. He may be said to have found there the subjects of most of his compositions, and his works inspired by these poets are delightfully full of originality and ingenuity.
He tried first a large canvas from the page’s song in “Pippa Passes” but had to abandon it. The composition of it remains in a little painting called “Hist, said Kate the Queen,” dated 1851. He executed two other pen-and-ink designs from Browning entitled “Taurellos’ first sight of Fortune” and the “Laboratory,” at about the same time. Probably the latter was his first essay in water-colour, it is very different from those for which he is popularly known.
In “Beatrice at the Wedding Feast, denying her salutation to Dante,” a small water-colour of 1849 from the “Vita Nuova,” the central figure is a portrait of Miss Elizabeth Siddal who became acquainted with Rossetti at about this date. She was the daughter of a Sheffield cutler and was working in a milliner’s shop. Walter Deverell discovered her one day, when he was shopping with his mother. He persuaded her to sit for him for his “Viola” and later to Rossetti. Her portrait can be seen in a picture by Holman Hunt and in Millais’ Ophelia. Miss Siddal sat for most of the women in Rossetti’s earliest and finest water-colours.
To 1851 belongs the beautiful little composition called “Borgia,” in which Lucrezia can be seen dressed in an ample white gown brightened all over with coloured ribbons and bows, sitting with a lute in her hands. In the foreground two children are dancing. Leaning over her left shoulder is the Pope Alexander VI., while her brother Cæsar stands on the other side beating time with a knife against a wine-glass on the table.
Rossetti was not long in discovering that Miss Siddal had a strong aptitude for art. With his special gift of influencing others the position of model was soon merged into that of a pupil. Under his guidance Miss Siddal made rapid progress and her water-colours show a fine sense of colour.
The sympathy between artist and pupil ripened into affection. The exact date of their engagement is not known, but it was probably in 1853, certainly not later than 1854, and was at first kept secret at Miss Siddal’s request.
To the year 1854 belongs the water-colour, “King Arthur’s Tomb,” in which Lancelot and Guenevere are seen bidding farewell over
the tomb of King Arthur; and to the following year belong the three water-colours, “The Nativity,” “La Belle Dame Sans Merci,” and the “Annunciation,” as well as the drawing for a wood-cut, illustrating a poem called “The Maids of Elfen-Mere” by William Allingham.
PLATE IV. — BEATA BEATRIX
From the oil painting (34 in. by 27 in.) painted in 1863 for Lord Mount-Temple, now in the Tate Gallery
Though undoubtedly inspired by the death of his wife, the motive of this picture was ostensibly taken from the Vita Nuova. The Latin quotation inscribed on the frame, which was designed by Rossetti himself, is taken from the following passage:
“After this most gracious creature had gone out from among us, the whole city came to be as it were widowed and despoiled of all dignity. Then I, left mourning in this desolate city, wrote unto the principal persons thereof, in an epistle, concerning its condition; taking for my commencement those words of Jeremias: Quomodo sedet sola civitas! etc.”
The date of the death of Beatrice is also inscribed on the frame.
The artistic and romantic force which had produced the Pre-Raphaelite movement had another important work to do five or six years later, when a fusion of two movements took place: the early Pre-Raphaelites represented by Rossetti, Holman Hunt, and Millais, joined the later movement inaugurated by Morris and Burne-Jones. The second of these groups originated at Exeter College, Oxford. It took shape like the first one in a revolt against the Art formulæ of the age. The Oxford group, like the P.R.B., had a magazine to express their views.
At Christmas 1855 Burne-Jones came up to London and was introduced to Rossetti, whom he and Morris admired greatly. Rossetti contributed “The Burden of Nineveh,” and a little altered version of “The Blessed Damozel” to the “Oxford and Cambridge Magazine,” the organ of William Morris.
One year later Burne-Jones and Morris settled in London in rooms at 17 Red Lion Square. Both young men were soon completely under Rossetti’s influence, and their studio became a sort of centre for all members of his circle. There, in order to furnish and decorate these rooms, the first essays in designing furniture were made. Rossetti painted a pair of panels for a cabinet. He made use of the subject of his early pen-and-ink drawing, “The Salutation of Beatrice,” representing, in two divisions, Dante meeting Beatrice in Florence and again in Paradise, with a figure of Love standing between them in the midst of symbols. Besides those panels Rossetti painted on the backs of two arm-chairs, “Gwendolen in the Witch-tower” and the “Arming of a Knight,” both subjects from poems by William Morris.
To 1857 belongs the charming series of water-colours acquired by William Morris: “The Damsel of the St. Grael,” “The Death of Breuse sans pitié,” “The Chapel before the Lists,” “The Tune of Seven Towers,” and “The Blue Closet.” The two last were special favourites with Morris who used their romantic titles for two of his poems. This year also, he painted the “Wedding of St. George,” “The Gate of Memory,” “The Garden Bower,” and a “Christmas Carol.”
During
the vacation of 1857 Rossetti went to Oxford with Morris to visit the architect, Benjamin Woodward, who was constructing a debating-hall for the Union Society. Rossetti saw an opportunity for mural decoration, and arrangements were made with the building committee in charge that seven artists including Rossetti, Burne-Jones, and Morris, should undertake the decoration gratuitously, the Union only defraying their expenses at Oxford and providing all necessary material. Rossetti took for subjects, “Launcelot asleep before the Chapel of the Sanc Grael” and “Sir Galahad, Sir Bors, and Sir Percival, receiving the Sanc Grael.” Before the pictures were finished they began to fade, the walls having been badly prepared and Rossetti’s designs were never completed.
While at Oxford, in the summer of 1857, at the theatre, Rossetti was very much impressed one night by the striking beauty of Miss Burden, the daughter of an Oxford resident. He obtained an introduction in order to ask for sittings. A pen-and-ink head called “Queen Guinevere,” probably meant to replace the earlier studies done for “Launcelot at the Shrine,” was the first result of the new acquaintance. Several years later, after the death of his wife, Miss Burden, then Mrs. William Morris, again sat to Rossetti for several of his important pictures.
PLATE V. — THE BOWER MEADOW
From the oil painting (32 in. by 25 in.) in the collection of the late Sir John Milburn, Bart., Acklington, Northumberland
Of this charming composition the landscape background was painted at Sevenoaks in 1850, and the figures were added and the whole finished in 1872.
CHAPTER IV.
On the 23rd of May 1860, the long delayed marriage of Rossetti to Miss Siddal took place in St. Clement’s Church, Hastings, and the married couple went to Paris for their honeymoon. While staying there Rossetti did two pen-and-ink drawings one of which called “How they meet themselves,” was done to replace the one made in 1851 and lost; the other representing a scene from the “Life of Johnson” by Boswell, quite an unusual subject for the artist. To the same year belongs the picture representing Lucrezia Borgia washing her hands after preparing poison for her husband the Duke Alphonso of Bisceglia.
In 1861 Rossetti’s translation from the Italian poets was at last published with the “Vita Nuova” in a volume entitled “The Italian Poets from Cuillo d’Alcamo to Dante Alighieri (1100, 1200, 1300).” The painter poet was enabled to publish this book through Messrs. Smith, Elder & Co. by the generous assistance of Ruskin who advanced £100 to the publisher, but the sale of the first edition was only just sufficient to pay that sum back, leaving a balance of about £10 to the author. He proposed to etch for the frontispiece a charming design of which various pen-and-ink versions exist, but being displeased with the plate he destroyed it. In the same year he painted a small portrait of his wife called “Regina Cordium.” The head with ruddy hair hanging loose on the shoulders against a gold background, fills nearly all the canvas and a hand is seen on the left side of the picture holding a pansy. More than one replica of that portrait exists, and several heads from different sitters are called “Regina Cordium.” Another important production of the year is “Cassandra.” The subject is a scene on the walls of Troy before Hector’s last battle. He has been warned in vain by the prophetess, who is seen leaning against a pillar, tearing her clothes in despair. Hector is rushing down the steps, and the whole composition is full of soldiers, every space being filled with some incident related to the central subject, giving that aspect of concentrated composition so special to Rossetti.
The two years following his marriage (1860-1862) were amongst the most prolific of Rossetti’s life both in ideas and invention. Besides “Cassandra” he planned the composition for a large picture which was commissioned but never finished, representing Perseus with the Medusa’s head; and he made the first pencil studies for his famous “Beata Beatrix.”
With 1862 is associated the water-colour, “Bethlehem Gate.” It is also about this time (1861-1862) that the now famous firm of Morris, Marshall, Faulkner & Co. was established with the co-operation of William Morris, Faulkner, Burne-Jones, Madox Brown, Webb, and others as active members.
The idea of the commercial attempt on the artistic lines to reform the art of decoration and furniture-making was, says Mr. Mackail, largely due to Madox Brown, but perhaps more to Rossetti, who, in spite of his artistic qualities, was a very good business man and had the scent of a trained financier for anything likely to pay. The little band of original artists and designers took in hand tapestry, furniture, wall papers, stained-glass, and later on, carpet weaving and dyeing. The terms under which they worked were very simple. Each member was to be paid for the work commissioned by the firm, and the profits were to be divided in a proper ratio at the end.
The new firm had plenty to do owing to the demand for ritual decorations caused by the Anglo-Catholic movement. Amongst the first commissions were those for adorning two new churches then being built — St. Martin-on-the-Hill, Scarborough, and St. Michael at Brighton. For the first one Rossetti made a design for two pulpit panels and several windows.
In dealing with stained-glass Rossetti who was specially gifted as a decorator, understood his medium, and in making his design took into account all the limitations of the material. He did not seek to paint a picture on glass, but maintained that idea of a mosaic of coloured-glass that is seen to so much advantage in the early vitraux.
Amongst works designed by him for the firm Morris & Co. the following may be mentioned: “Adam and Eve,” two designs for stained-glass, and “St. George and the Dragon,” six designs for stained-glass. One of them representing the princess drawing the fatal lot he painted as a water-colour. “King Rene’s Honeymoon,” a design for one of four panels representing the Arts, was done for a gothic cabinet that Mr. J. P. Seddon ordered from Morris & Co. Rossetti’s design for “Music” shows the king bent over a chamber-organ kissing his bride while she is playing. He designed also one of the minor panels “Gardening.” There is a water-colour of the same subject under the title of “Spring.” “Amor, Amans, Amata,” were three small figures in ovals, done for the back of a sofa, which Rossetti had made for himself. He kept it for many years in his house at Chelsea. “Sir Tristran and la Belle Iseult drinking the Love potion” was a fine design intended to be one of a series of stained-glass windows. “King Rene’s Honeymoon” was done for a series of stained-glass windows. “The Annunciation” is a design for a window, quite different from the early version of the same subject. “Threshing” is a design for a glazed tile. “The Sermon on the Mount” was done for a memorial window in Christ Church, Albany Street, erected in 1869 to the memory of his aunt, Miss Polidori.
In either 1861 or 1862 Rossetti designed two illustrations for his sister Christina’s book of poems “Goblin Market.” They were engraved on wood and appear in Messrs. Macmillan’s edition.
In May 1861 Mrs. Rossetti gave birth to a still-born child. Her recovery was slow, and this trouble did not improve her consumptive tendencies. She suffered, too, from a very severe form of neuralgia, for which laudanum was prescribed.
On the night of the 11th of February 1862 she took an overdose and Rossetti, returning home from lecturing at the Working Men’s College, found her dying. In a terrible state of anxiety, after seeking one doctor after another, he called in Madox Brown for help, but all in vain. The following morning his wife died, after only two years of married life. The grief of Rossetti was overwhelming and the touching scene in which he buried the manuscript of his poems with his beloved wife has been told many a time.
CHAPTER V.
After this tragic event Rossetti could no longer live in the rooms he had occupied at Chatham Place. He looked for some others, living meanwhile for a few months in a house in Lincoln’s Inn Fields. Then he took a lease of the house at No. 16 Cheyne Walk, sharing it at first with Swinburne and Meredith. Mr. Meredith did not stay long and after awhile Mr. Swinburne also gave up his tenancy, leaving Rossetti sole occupant of the premises.
One of the last works h
e did before his misfortune, and the last picture for which his wife sat to him, was the water-colour of “St. George and the Princess Sabra.” For sometime after the blow of his wife’s death he was idle. The first things he did after his recovery was a crayon portrait of his mother (1862) followed by “The Girl at a Lattice,”
“Joan of Arc,” and a replica of his early “Paolo and Francesca.”
PLATE VI. — THE BORGIA FAMILY
From the water-colour painted in 1873 and lately purchased by the South Kensington Museum
Rossetti first painted this subject in 1851 — a smaller size 9½ by 10 in. It is one of the richest of his small compositions.
The celebrated picture of “Beata Beatrix,” now in the Tate Gallery is dated 1863, but was finished later, being only partly painted in that year. In Rossetti’s own words the following is a description of the picture: “The picture illustrates the Vita Nuova, embodying symbolically the death of Beatrice as treated in that work. The picture is not intended at all to represent death, but to render it under the semblance of a trance in which Beatrice, seated at a balcony overlooking the city, is suddenly rapt from earth to heaven....”
The whole strikes a sombre note apart from its symbolic representation through its delicious purple harmony. The city in the sunset light in the distance, supposed to be Florence, is very like London in atmospheric effect. Beatrice is seen sitting at the balcony against the sunset background, with the light playing round her golden auburn hair, in fashion suggesting an aureole. She is dressed in green with dull purple sleeves. A bright red bird holding in its beak a dim purple poppy, emblem of death, is flying towards her. In the misty distance the figures of Dante and Love are watching her. Rossetti painted in 1872 a replica of that picture, adding to the main subject the meeting of Dante and Beatrice in Paradise, with maidens bearing instruments of music. He was rather reluctant to send out that replica, but the unwillingness was overcome. He painted several others, none of them being equal in quality to the original.
Complete Poetical Works of Dante Gabriel Rossetti Page 51
