Christina Rossetti: The Birthday of Her Life

The sun nor loiters nor speeds,
The rivers run as they ran,
Through clouds or through windy reeds
All run as when all began.

from
Time Flies, A Reading Diary
by Christina Rossetti
December 5th entry
(First published 1885)

Below is the cover artwork for my upcoming novel:

The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti

Copyright © 2022 by DM Denton

Christina was part of a remarkable family of English-Italian scholars, artists, and poets, her older brother being Dante Gabriel Rossetti, founder of the Pre-Raphaelite Brotherhood. I wrote a brief bio of her for The Literary Ladies Guide.

From left to right: Christina, Dante Gabriel, Frances (mother), William, and Maria Rossetti
Photograph by Charles Dodgson, AKA Lewis Carroll
1863

Today is the 192nd anniversary of her birth, December 5, 1830

A Birthday
By Christina Rossetti

My heart is like a singing bird
                  Whose nest is in a water’d shoot;
My heart is like an apple-tree
                  Whose boughs are bent with thickset fruit;
My heart is like a rainbow shell
                  That paddles in a halcyon sea;
My heart is gladder than all these
                  Because my love is come to me.

Raise me a dais of silk and down;
                  Hang it with vair and purple dyes;
Carve it in doves and pomegranates,
                  And peacocks with a hundred eyes;
Work it in gold and silver grapes,
                  In leaves and silver fleurs-de-lys;
Because the birthday of my life
                  Is come, my love is come to me.

from Ecce Ancilla Domini, or The Annunciation
by Dante Gabriel Rossetti

Excerpt from The Dove Upon Her Branch

Christina and William Rossetti posing
for the painting of Ecce Ancilla Domini
by Dante Gabriel Rossetti
in November 1849

Another portrait to pose for offered an alternative, productive engagement, being the handmaid of the Lord a worthy occupation. William sitting for the Angel Gabriel completed a happy if draughty distraction of camaraderie and creation with her brothers.

     At that time Gabriel worked on Newman Street above a hop-shop or Dancing Academy as its proprietor tried to improve it.

     “Why is the painting tall and narrow?” Christina wondered with her first glance at the work in progress.

     “It is one-half of a diptych. Its companion will depict the Virgin’s death.”

     “Will you have both finished by spring for the RA?” William slapped his arms around himself in an attempt to warm his sleeveless, sheeted body. “Anymore coal for the grate?”

     “Doubt it.” Gabriel urgently picked through the pile of brushes on the small pedestal table next to his easel.

     Christina noticed they were all thin-handled and fine-bristled. “No wonder you take so long to finish anything.” She also looked at his pallet, noticing he wasn’t mixing colors, but using fresh daubs of unadulterated white, blue, and red paint.

     “I hope you won’t get bronchitis again.” William repositioned the woolen shawl that had slipped off her shoulders.   

     “I haven’t even caught a cold.” Christina had resigned herself to shivering in her flimsy nightgown for the sake of Gabriel’s vision and to prove as enduring as any of the other models who sat for him.

     “Interesting.” As he leaned forward, William put a hand on his brother’s back. “Even with as little as you’ve done, I see the perspective of Giotto. Yet, I also see Flemish primitive, what you and Hunt were so taken with in Bruges. Before you started, I noticed you had followed Van Eyck’s practice of preparing the canvas with white ground.”

     Gabriel smiled. “I’m sure it will all seem a confused mess to those, like Ruskin, who think their opinions matter.”

     “A risk worth taking. But you must enter both panels together.”

     “I don’t paint to exhibit.”

     “You must, Gabe, to make a name for yourself, a living. Your work must be seen. And critiqued.”

     “Says the would-be critic.”

      “Now I see why you want me contorted on a corner of that saggy cot.” Christina though it wise to change the subject. “And all wrinkly and looking about to jump up and run away.”

     “I thank Collinson for your disquiet.” Gabriel was still brooding over Mr. Hunt falling into arrears with the rent on Cleveland Street and defecting to James’ studio in Brompton.

     They had spoken of many things during the hours of posing and painting, breaking to eat and drink, and for Christina and William to wrap themselves in blankets long enough to feel their fingers and toes again. Not once, until that moment, had anyone mentioned the man Christina had, without good reason, agreed to marry. She was almost convinced the last year of his waxing and waning hadn’t happened; that somewhere out there was the face not seen, the voice not heard, the heart that not yet—

Copyright © DM Denton 2022

Ecce Ancilla Domini, or The Annunciation
by Dante Gabriel Rossetti

Brief was the day of its power,
The day of its grace how brief:
As the fading of a flower,
As the falling of a leaf,
So brief its day and its hour …

from
Time Flies, A Reading Diary
by Christina Rossetti
December 5th entry
(First published 1885)

Christina Rossetti by Dante Gabriel Rossetti 1877

Sing, that in thy song I may
Dream myself once more a child

from Maud by Christina Rossetti

Christina Rossetti as a child, by William Bell Scott

Happy Birthday, Christina Rossetti

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

The Many Portraits of Christina Rossetti

It took a while for me to come up with a subtitle for my upcoming novel The Dove Upon Her Branch. Perhaps one wouldn’t be necessary if my authorship of it was enough to entice readers. I decided it was wiser to rely more on its protagonist’s lure.

She sometimes struggled with titles for her writing, often with her oldest brother’s opinion of her choices. Usually, she surrendered to his suggestions.

I hoped, as with the main title, the perfect words would appear out of the prolificacy of her poetry. Instead, A Novel Portrait of Christina Rossetti was what I settled on. It was what I felt I had accomplished.

A Little Teaser of the Cover
Artwork Copyright 2022 by DM Denton

There are many drawings and paintings of the Victorian poet and youngest sibling of the remarkable Polidori-Rossetti family. From her girlhood to middle-age, Pre-Raphaelite artist, Dante Gabriel Rossetti, literally and lovingly captured the delicate beauty of his youngest sister’s youth, moods of her evolving temperament, and altered appearance due to age and disease.

Christina Rossetti by Dante Gabriel Rossetti

Christina Rossetti
by Dante Gabriel Rossetti

A few other artists put their hands to immortalizing her, two out of romantic interest, James Collinson’s unflattering, and John Brett’s never finished.

Christina Rossetti by James Collinson

Christina Rossetti by John Brett

A sketch of Christina Rossetti as a child by William Bell Scott from Autobiographical Notes of the Life of William Bell Scott, 1892 edition.

Above, intriguingly sulky, is the youngest portrait of Christina that I have come across. The artist was Scotsman William Bell Scott (1811 – 1890), who was also an art teacher and poet. The drawing was included in his Autobiographical Notes published posthumously in 1892, two years before Christina died at the age of sixty-four. He actually didn’t set eyes on her until she was almost eighteen, the drawing seemingly a copy of one Filippo Pistrucci did of her 1837.

Signore Pistrucci did another in 1839.

Christina Rossetti by Filippo Pistrucci

“Such a pretty little Christina. Such a perfectly still and dull Christina has never existed.” By the time he was eighteen and at Henry Sass’ Drawing Academy, Gabriel didn’t doubt he was the bona fide artist in the family and, therefore, the opinion that mattered.

      “He caught her wide-eyes and the softly determined jut of her chin, I think.”

      “Unimaginative work, Will. Where is the thought in her eyes? The words on her lips? The breath from her nostrils? He didn’t capture her truth. Realism without imagination is like religion without spirituality.”

Excerpt from The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti ©2022 DM Denton

In response to a letter Dante Gabriel had sent to him, Mr. Bell Scott began a lifelong association with the Rossettis – and, arguably, a significant place in Christina’s affections – in a December 1848 visit to London and the Rossetti family home on Charlotte Street, meeting Christina and her ailing father in the parlor.

In Mr. Scott’s words:

By the window was a high narrow reading-desk, at which stood writing a slight girl with a serious regular profile, dark against the palid wintry light without. This most interesting of the two inmates turned on my entrance, made the most formal and graceful curtsey, and resumed her writing …

The girl was Christina, who had already at seventeen written, like her brother, some admirable lyrics, nearly all overshadowed with melancholy. Melancholy I call it, but perhaps the right words would be pious sentiment. At least in her mind, piety and sadness went together, and have done all her life.

Christina Rossett by Dante Gabriel Rossetti

And in my words:

     The man brought to the parlor was tall, his face flushed, eyebrows bushy, and chin square, his jacket, cravat, waistcoat, and trousers artistically mismatched and well-worn. He seemed expectant then confused, his searching, sapphire gaze scanning the room. He removed his green-velvet, feathered hat, implying his impression of Christina with a broad smile and slight bow. She felt and probably appeared cross because she was unprepared to greet anyone she didn’t know.    

     Christina lowered her face and hurried back to her desk.

Excerpt from The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti ©2022 DM Denton

Charles Dodgson, AKA Lewis Carroll*, used a camera to portray a heavily costumed but relaxed thirty-three-year-old Christina with her beloved mother, older sister Maria, and older brothers William and Dante Gabriel on the back steps of the latter’s grand London house in Cheyne Walk.

     Compared to sitting for an artist, photographers were too busily burdened by the paraphernalia and processes of their trade to indulge in fostering relationships with their sitters. After a little bashful artistry, in few words Mr. Dodgson positioned Christina and, as soon as possible, escaped to concentrate on focusing the shot before he disappeared into his portable darkroom to prepare the plate. Ten or fifteen minutes of model patience was required for the time it took until he appeared rushed, holding his work away from the flaps of the tent, his cuffs, and anything else he might brush or bump it against. He did a final check with the darkening cloth over him and his magical machine, shut the lens, slid in the plate holder, pulled something up, and stood to the side.

     “You may blink but don’t otherwise move.” After removing the lens cap, Mr. Dodgson counted slowly to ten, and put it back.

     He hurried into the tent to confirm that Christina had been caught, as William described, first with “an intellectual profile” and then “a bantering air.”

Excerpts from The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti ©2022 DM Denton

Christina Rossetti from a photograph by Charles Dodgson

*It is thought that Christina’s poem Goblin Market was one of the inspirations for Alice’s Adventures in Wonderland.

From ‘The Annunciation-Ecce Ancilla Domini by Dante Gabriel Rossetti

From The Girlhood of
Mary Virgin by Dante Gabriel Rossetti

Christina also sat for a number of paintings in which she was portrayed as someone other than herself. The two most famous are above, Dante Gabriel depicting her as the Virgin Mary.

… “Mary’s daisies”. They were everywhere around her grandparents’ cottage, across its lawns and creeping through its pathways, opening to the sun, closing to the rain. Mama had shown her how to weave them together in chains for her wrists, hair, or around her neck, Gabriel promising to paint a portrait of her “adorned with them.”

Excerpt from The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti ©2022 DM Denton

She also modelled for Pre-Raphaelite artist William Holman Hunt, her head an inspiration for Jesus’, although another model, her eventual sister-on-law, Elizabeth Siddal, supplied the copper-colored locks.

From The Light of the World
by William Holman Hunt

And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.

From In the Artist’s Studio by Christina Rossetti

During her first visit to Penkill Castle in South Ayrshire, Scotland, Christina sat for several murals William Bell Scott was painting on the walls of a newly built large spiral staircase. He posed her as Lady Jane, the heroine and distant love of King James I in The King’s Quaire, a Medieval poem and courtly romance.

From Illustration by DM Denton © Copyright 2022

    “… I’m under no illusions that is a likeness of me. An artist sees pieces of a model, not the whole. They use what they want to: the color of her hair and eyes, shape of her face, length of her neck. They maneuver her to find the necessary position of her head, droop of her shoulders or outstretch of her hand. They imagine what they want to, such as turning the discomfort even pain of staying in one position for so long into a pining for love.”

Excerpt from The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti ©2022 DM Denton

Mural at Penkill Castle by William Bell Scott Christina posed for

Mural at Penkill Castle by William Bell Scott Christina posed for

Christina Rossetti by Dante Gabriel Rossetti 1877

The chalk portrait above, by Dante Gabriel Rossetti, of Christina in her late forties, is one of my favorites. It evokes something of her truth for me, a woman more herself as she grew older, not merely pretty in features and form but beautiful in the thought in her eyes, the words on her lips, the breath from her nostrils, the dishevelment of her dreams, the light and the shadow of her.

I think it also appeals to me because, like Christina, I’m of English and Italian descent, and this drawing certainly brings out the latter in her, more evident as she aged.

Her sister Maria always had a dark complexion and plumpness to portray her plain and foreign.

Christina didn’t have her sister’s complaint. She grew paler and slimmer, her hair sleeker, her eyes more clearly blue, as English as she was anything.

Excerpt from The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti ©2022 DM Denton

Of course, looks were and continued to be deceiving. Six days after Christina returned from her one trip to Italy, she wrote the following poem inspired by ‘a very agreeable, bright-natured, eminently Italian in manner and character’ woman she had been introduced to. Enrica Filopanti was obviously enjoyed and, perhaps, even envied a little, but only in a poem to be emulated.

Enrica
by Christina Rossetti

She came among us from the South
  And made the North her home awhile
  Our dimness brightened in her smile,
Our tongue grew sweeter in her mouth.

We chilled beside her liberal glow,
  She dwarfed us by her ampler scale,
   Her full-blown blossom made us pale,
She summer-like and we like snow.

We Englishwomen, trim, correct,
  All minted in the self-same mould,
  Warm-hearted but of semblance cold,
All-courteous out of self-respect.

She woman in her natural grace,
  Less trammelled she by lore of school,
  Courteous by nature not by rule,
Warm-hearted and of cordial face.

So for awhile she made her home
  Among us in the rigid North,
  She who from Italy came forth
And scaled the Alps and crossed the foam.

But if she found us like our sea,
  Of aspect colourless and chill,
  Rock-girt; like it she found us still
Deep at our deepest, strong and free.

From Illustration by DM Denton © Copyright 2022

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

Summer Begins; A Novel is ‘Finished’

Summer by Christina Rossetti

Winter is cold-hearted,
Spring is yea and nay,
Autumn is a weathercock
Blown every way.
Summer days for me
When every leaf is on its tree;

When Robin’s not a beggar,
And Jenny Wren’s a bride,
And larks hang singing, singing, singing
Over the wheat-fields wide,
And anchored lilies ride,
And the pendulum spider
Swings from side to side;

And blue-black beetles transact business,
And gnats fly in a host,
And furry caterpillars hasten
That no time be lost
And moths grow fat and thrive,
And ladybirds arrive

Before green apples blush,
Before green nuts embrown,
Why one day in the country
Is worth a month in town;
Is worth a day and a year
Of the dusty, musty, lag-last fashion
That days drone elsewhere.

 

Copyright 2022 by DM Denton

 

My next novel The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti will soon be out of my hands and in my publisher’s queue!

Over five years in the researching and writing, this novel has been a tough journey, but a life changing one I’m so glad I somehow stayed on track with.

 

I came across this quote from an out of print book published by G.P.Putnam’s Sons in 1900. I wholeheartedly agree! (It gives a hint to the challenges I faced.)

 

“In the case of the Rossettis, the biography of any one individual may very well seem ‘only an episode in the epic of the family’ … “

~ from The Rossettis: Dante Gabriel and Christina by Elizabeth Luther Cary

 

 

 

 

Here is an excerpt from later in the novel when Christina and her mother spend a few weeks at Kelmscott Manor in Gloucester where Dante Gabriel Rossetti is staying much of the time while he is still co-lease holder with William Morris and others.

 

From The Dove Upon Her Branch, A Novel Portrait of Christina Rossetti

There was nothing to do in that pretty boat but slip through sparkling water and watch George live up to Gabriel’s praise that the young man “kept everything going”. Christina lost all sense of time, especially as it was a thief, and could finally enjoy going nowhere. Mr. Morris was right; Kelmscott was heaven on earth. It offered serenity, an oasis outside of the world, and immortality in the rhythms of its nature. It belonged to those who had eyes for its beauty and faith in its purpose. It required a willingness for transition. For Christina, it meant emerging from the self-absorption of severe sickness to enjoy simple pleasures again.

     She and her mother had been on many journeys together, but one to a remote corner of south-west Oxfordshire rivaled the significance of all, except Italy, which was as necessary but much less leisurely. They were as close as they had ever been, in spirit and heart and a small boat, their feet side-by-side in opposite directions, their silence filled with water lapping and the song of swallows bringing the summer and bringing the sun.        

     Eventually, the punt passed beyond a long stretch of willows weeping. Have you no purpose but to shadow me beside this rippled spring? George brought the ride to a stop where the riverbank met a meadow of hay-harvesters choreographed for toil, mostly women looking lovely in their plain cotton dresses and bonnets. Mama insisted George share in the basketed snack of buttered bread, strawberries, and cider. As was true for most of the outing, there was more observation than conversation, and it was well rewarded.

A singing lark rose toward the sky,
Circling he sang amain;
He sang, a speck scarce visible sky-high,
And then he sank again.

Copyright © 2022 by DM Denton

Vintage engraving of women and a man punting on the river, 19th Century

 

 

Happy Summer Solstice
and 
Winter Solstice, for those in the southern hemisphere  

 

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

Come back, dear Liz

John Everett Millais
Ophelia (1851–52)
Model, Elizabeth Siddal

On February 11, 1862, the model, muse, and wife of Pre-Raphaelite painter and poet Dante Gabriel Rossetti, Elizabeth “Lizzie” Siddal, an artist and poet in her own right, died at the age of 32 from an overdose of laudanum the night before.

Regina Cordium
Dante Gabriel Rossetti’s 1860 marriage portrait of Siddal

With Valentine’s Day nearly here, I’ve decided to mark this sad anniversary with a poem Dante Gabriel Rossetti wrote years earlier, possibly in 1855, in a much lighter spirit than he doubtlessly had on those fateful, sad days in February 160 years ago.

It was posthumously published in Ruskin, Rossetti, and Pre-Raphaelitism by Dante Gabriel’s younger brother, William Michael Rossetti (London, George Allen 1899).

I do not know which year this belongs to. It speaks of Miss Siddal as being absent, but (seemingly) as if she could enter any moment. This would exclude from count the year 1856, when she was away in Nice. The verses are amusing, and though they were not suited for Collected Works of Dante Gabriel Rossetti, they may come here.
[William Michael Rossetti 1899]

YESTERDAY was St. Valentine.

Thought you at all, dear dove divine,

Upon the beard in sorry trim

And rueful countenance of him,

That Orson who’s your Valentine?

He daubed, you know, as usual.

The stick would slip, the brush would fall:

Yet daubed he till the lamplighter

Set those two seedy flames astir;

But growled all day at slow St. Paul.

The bore was heard ere noon; the dun

Was at the door by half—past one:

At least ’tis thought so, but the clock—

No Lizzy there to help its stroke—

Struck work before the day begun.

At length he saw St. Paul’s bright orb

Flash back—the serried tide absorb

That burning West which it sucked up,

Like wine poured in a water cup;—

And one more twilight toned his daub.

Some time over the fire he sat,

So lonely that he missed his cat;

Then wildly rushed to dine on tick,—

Nine minutes swearing for his stick,

And thirteen minutes for his hat.

And now another day is gone:

Once more that intellectual one

Desists from high—minded pursuits,

And hungry, staring at his boots,

Has not the strength to pull them on.

Come back, dear Liz, and looking wise

In that arm—chair which suits your size

Through some fresh drawing scrape a hole.

Your Valentine & Orson’s soul

Is sad for those two friendly eyes.

Here is an excerpt from The Dove Upon Her Branch, my upcoming novel portrait of the Victorian poet, Christina Georgina Rossetti, sister of Dante Gabriel Rossetti:

Christina did and didn’t want to meet Gabriel’s first true love “radiant with the tresses of Aurora”, his obsession with women’s hair often overlooking the unreliability of their virtue and intellect. Christina hoped Miss Siddall was a woman of moral repute, steady faith and, despite William’s assessment, interesting thoughts. She anticipated feeling dark and dumpy around her but was determined not to mind as long as Miss Siddall urged Gabriel into serious work and a settled life. Christina also expected to like her, not spontaneously or securely like with Amelia or Henrietta, but, protectively, forgivingly, sometimes resentfully.

     Years would go by before Christina and Miss Siddall met, despite Gabriel’s often expressed intention of introducing her to his mother and sisters. William explained it by Miss Siddall’s talent for coyly refusing invitations and avoiding introductions, disappearing at the announcement of an intrusion, or, if caught off-guard, escaping eye contact, a word, a nod, a smile at a kind greeting, even a compliment. That other William whose opinion Christina always welcomed confirmed Miss Siddall’s behavior with first-hand experience, when “in the romantic dusk of an apartment” he found Gabriel and a lady he didn’t know and could hardly see.

     “I waited for Gabriel to introduce her. He didn’t. She rose. I made a little bow. Without acknowledging my presence, let alone courtesy, she went into another room and never returned for the duration of my visit.”

     “How did you know who she was?”

     “I guessed. But, according to Gabriel’s silence, I might’ve imagined her. Later, William assured me I hadn’t.”

© 2022 DM Denton

Lizzie Siddal
at Chatham Place, Blackfriars London
by Dante Gabriel Rossetti

In the Artist’s Studio
by Christina Rossetti

One face looks out from all his canvases,

One selfsame figure sits or walks or leans:

We found her hidden just behind those screens,

That mirror gave back all her loveliness.

A queen in opal or in ruby dress,

A nameless girl in freshest summer-greens,

A saint, an angel — every canvas means

The same one meaning, neither more or less.

He feeds upon her face by day and night,

And she with true kind eyes looks back on him,

Fair as the moon and joyful as the light:

Not wan with waiting, not with sorrow dim;

Not as she is, but was when hope shone bright;

Not as she is, but as she fills his dream.

Photograph of Lizzie Siddal

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

A Daughter’s Words

In November 2020, a friend of mine, Cherie Messore, currently Sr. Manager of Public Relations at Spectrum Health and Human Services located in Western New York, read the desperation in a question I had asked on my personal Facebook page.

It inspired her to write a post for the company’s blog:

November is National Family Caregiver Month

A former co-worker recently posted this on her social media:

Feeling trapped, caged. Is this a normal reaction to caregiving? (Asking for the friend I used to be to myself.)

She is the caregiver to her elderly mother who is bedridden, deprived of her sight, and suffers from a variety of maladies that also spur bouts of delirium. This breaks my heart. I remember both mother and daughter as vibrant, artistically talented women, who loved their life sharing a charming cabin in a rural community.

Illness and long life are taking their toll on the mother, and the dutiful daughter thrust into the role of caregiver is wrapped in the commitment – and guilt – inherent to this responsibility.

November is National Family Caregivers Month, a time to reflect on and support the millions of family caregivers who give their love, their time, their patience, and their energy to caring for a family member in their homes.

Are you picturing a soft-focused, gentle picture, of caregiver and patient smiling over the Scrabble board as they strengthen their bonds of love and togetherness? It’s rarely like that.

Read the rest of Cherie’s article HERE.

Hearing that my mother had recently passed, Cherie invited me to write a postscript to her original piece for the Spectrum Health and Human Services’ blog. It’s early days, my reflections still confused and raw, but I agreed, struggled, thought I might give up, but did somehow manage it.

Cherie has kindly let me post the result here on my blog, too.

A Daughter’s Words

The caregiving journey I embarked on without knowing where I was going, recently, finally, and suddenly, reached its destination.

My mother died this past October, at the age of 92. We had lived together for 31 ½ years since she had given me a home after the breakup of my marriage. We shared a house and so much more, not always harmoniously, but never without forgiveness and friendship, because we realized the refuge we had in each other.

Hoping she would live a long life, it was always my intention to be my mom’s caregiver, a natural reciprocation of all she had done for me. That objective wasn’t much of a sacrifice while she could still be left alone, walk, read, and write out her favorite quotes, draw and paint, sing, play cards, make chicken soup, feed the kitties and watch their TV—the birds outside on the feeders—as happily as Wheel of Fortune and Jeopardy on our Samsung 16” screen. Even when she had to use a cane, then a walker, eventually a wheelchair, was incontinent and needed help showering, she was unchanged in her mind and heart. She continued to enjoy talking about her past, politics, nature, and old-time movie stars, with an appetite for good food and the flavors of life in general.

When the spells of delirium began, my mom’s limitations increased and so did the restrictions on my life. In the last few years, she became bedridden and blind. The delirium accused me of awful things and sometimes pulled me into its insanity. When she wasn’t delusional, she was more demanding than companionable, unrecognizable from the woman who was so enduring, a widow for 35 years, the mother I admired, the friend I always counted on.

Sometimes I would think, you’ll regret being angry with her, saying what you did, and taking time for yourself while it was running out with her.

The journey was a long one, especially as it went through a succession of dark tunnels, misunderstanding, resentment, and exhaustion traveling with us. There were too many times I wanted to pull the alarm so it would stop, no matter a desperate, screeching stop as long as I could get off. I also knew I couldn’t do that and on and on we went, as it felt, further and further from any chance of reviving the unconditional love between us.

Then the journey took a turn. It happened in the early hours of a Sunday morning while I was sleeping, so I didn’t realize until I woke my mom and she could hardly swallow or speak. She had lost so much along the way, but the ability to express herself verbally was the worst. Once, trying to say something to me that I just couldn’t understand, she wept more intensely than I had seen her do over any of her other disabilities.

When the end came, despite deep sadness, there was a light at the end of the tunnel, all those tunnels. For my mom it was the light of her spirit lifting out of her useless body to begin a journey I could not, did not want to, make yet.

For me, what was illuminated was my life as I had to go on with it, switching back to the platform of myself, the profound gift that, through the best and the worst, my mother had given me.

I have walked that long road to freedom. I have tried not to falter; I have made missteps along the way. But I have discovered the secret that after climbing a great hill, one only finds that there are many more hills to climb. I have taken a moment here to rest, to steal a view of the glorious vista that surrounds me, to look back on the distance I have come. But I can only rest for a moment, for with freedom come responsibilities, and I dare not linger, for my long walk is not ended.

~ Nelson Mandela from his autobiography, Long Walk to Freedom

Painting by June M. DiGiacomo

My Mom, June Marilyn DiGiacomo

March 10, 1929 – October 14, 2021

It has been a while since I posted. I am here again after the loss of my mother last Thursday afternoon, October 14th. She was 92 and passed peacefully in the home I shared with her for the past 31 years. After being her sole caretaker for many years, the last two plus with her bedbound and blind, a slight stroke took what strength she had left. It was just me and our five beloved kitties with her, an intimate and very private experience witnessing her last moments in a body that age had robbed of its vitality, and the freeing of her spirit that was still a beautiful, smiling young girl.

Once upon a time

I planned to be an artist

or celebrity.

A song I thought to write one day

and all the world with homage pay.

I longed to write a noble book,

but what I did–

was learn to cook.

For life with simple tasks is filled,

and I have done not what

I willed!

June M DiGiacomo

(From the last page of a journal of hers that I found)

Those who knew her at any point, will remember June’s “Mona Lisa smile”, sparkling hazel-blue eyes, and infectious engagement in a life to be celebrated rather than grieved over. 

If you would like to know a little more about her (including her connection to Ernest Hemmingway), I have written her obituary and you can read it here.

Otherwise, at this time, as I slowly adjust to my life without her, I will let a poem I wrote many years ago and a few of her paintings remember her.

Copyright © JM DiGiacomo

The secrets of your heart
are stacked against the wall,
canvases for your art
of hiding what you missed.
No mistaking your style,
a freedom out of hand
that kept you all the while
believing as you wished.
A world that long was yours
before it was revealed—
imagination soars
with courage its master.
Flowers filling a place
left bereft of your own,
a portrait in a vase
found by me, your daughter.
Landscapes take you afar,
cats and soup bring you home
to settle for who you are:
the author of this poem.
~ DM Denton

Copyright © JM DiGiacomo

Donations in her memory may be made to one or the other or both of the following animal rescue organizations: 

Second Chance Sheltering Network: Click on “Donate” in the upper right-hand corner. On second payment screen, please click “Write a note” to indicate that your donation is in memory of June M. DiGiacomo. 

Wyoming County SPCA: Click “Donate”. Click on “Memorial Donation”.  Click on “Memorial”, “In Loving Memory” to June M. DiGiacomo, “Human”. Please fill in “Send notification of donation to” with bardess@earthlink.net. 

Copyright © JM DiGiacomo

Maiden May by Christina Rossetti

I originally shared this post in 2018, when I had begun writing my fictional portrait of Christina Rossetti. It continues to be a work in progress, with an ever-changing finishing line – now in sight by the end of this summer. Well, Rome wasn’t built in a day and in the last few years my novel building has come up against many challenges, mostly because of the care of my elderly mother. But somehow I have kept at it, brick by brick. (At the end of this post, I offer a little – very little – excerpt from The Dove Upon Her Branch.)

First, the ever beautiful poetry of a very special woman, accompanied by the exquisite artwork of her brother, Dante Gabriel Rossetti and others in the style and/or spirit of the Pre-Raphaelites.

Maiden May sat in her bower,
In her blush rose bower in flower,
Sweet of scent;
Sat and dreamed away an hour,
Half content, half uncontent.

‘Why should rose blossoms be born,
Tender blossoms, on a thorn
Though so sweet?
Never a thorn besets the corn
Scentless in its strength complete.
‘Why are roses all so frail,
At the mercy of a gale,
Of a breath?
Yet so sweet and perfect pale,
Still so sweet in life and death.

“Mona Rosa” by Dante Gabriel Rossetti

Maiden May sat in her bower,
In her blush rose bower in flower,
Where a linnet
Made one bristling branch the tower
For her nest and young ones in it.

‘Gay and clear the linnet trills;
Yet the skylark only, thrills
Heaven and earth
When he breasts the height, and fills
Height and depth with song and mirth.

‘Nightingales which yield to night
Solitary strange delight,
Reign alone:
But the lark for all his height
Fills no solitary throne;

‘While he sings, a hundred sing;
Wing their flight below his wing
Yet in flight;
Each a lovely joyful thing
To the measure of its delight.

‘Why then should a lark be reckoned
One alone, without a second
Near his throne?
He in skyward flight unslackened,
In his music, not alone.’

“Veronica Veronese” by Dante Gabriel Rossetti

Maiden May sat in her bower;
Her own face was like a flower
Of the prime,
Half in sunshine, half in shower,
In the year’s most tender time.

Her own thoughts in silent song
Musically flowed along,
Wise, unwise,
Wistful, wondering, weak or strong:
As brook shallows sink or rise.

“The Shepherdess” by William Holman Hunt

Other thoughts another day,
Maiden May, will surge and sway
Round your heart;
Wake, and plead, and turn at bay,
Wisdom part, and folly part.

Time not far remote will borrow
Other joys, another sorrow,
All for you;
Not to-day, and yet to-morrow
Reasoning false and reasoning true.

Wherefore greatest? Wherefore least?
Hearts that starve and hearts that feast?
You and I?
Stammering Oracles have ceased,
And the whole earth stands at ‘why?’

“Women Reading in Garden” by Marie Spartali Stillman

Underneath all things that be
Lies an unsolved mystery;
Over all
Spreads a veil impenetrably,
Spreads a dense unlifted pall.

Mystery of mysteries:
This creation hears and sees
High and low –
Vanity of vanities:
This we test and this we know.

Maiden May, the days of flowering
Nurse you now in sweet embowering,
Sunny days;
Bright with rainbows all the showering,
Bright with blossoms all the ways.

“The Blind Girl” by John Everett Mallais

Close the inlet of your bower,
Close it close with thorn and flower,
Maiden May;
Lengthen out the shortening hour, –
Morrows are not as to-day.

Stay to-day which wanes too soon,
Stay the sun and stay the moon,
Stay your youth;
Bask you in the actual noon,
Rest you in the present truth.

Let to-day suffice to-day:
For itself to-morrow may
Fetch its loss,
Aim and stumble, say its say,
Watch and pray and bear its cross.
~ Christina Georgina Rossetti

“Fair Rosamund” by Arthur Hughes

 

Excerpt from The Dove Upon Her Branch, my upcoming novel portrait of Christina Rossetti.

She sat by one of the open windows, the scents and sounds of May just beyond, no time like Spring when life’s alive in everything, a good time to be married, if ever there was for Gabriel and Lizzie. A ten-year engagement had hardly made a difference to him, while Lizzie’s heart and health had suffered for it. The twelfth of May, Gabriel’s birthday, was supposed to be the day he gave into the commitment his illusions longed for and his behavior sabotaged.

I wish we once were wedded – then I must be true; you should hold my will in yours to do or undo* … 

 

*from the poem Look on this picture and on this by Christina Rossetti

 

 

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

Christina Rossetti: The Birthday of Her Life

The sun nor loiters nor speeds,
The rivers run as they ran,
Through clouds or through windy reeds
All run as when all began.

from
Time Flies, A Reading Diary
by Christina Rossetti
December 5th entry
(First published 1885)

Christina is the subject of my work-in-progress next novel, The Dove Upon Her Branch.

From left to right: Christina, Dante Gabriel, Frances (mother), William, and Maria Rossetti
Photograph by Charles Dodgson, AKA Lewis Carroll
1863

She was part of a remarkable family of English-Italian scholars, artists, and poets, her older brother being Dante Gabriel Rossetti, founder of the Pre-Raphaelite Brotherhood. I wrote a brief bio of her for The Literary Ladies Guide.

Christina Rossetti by Dante Gabriel Rossetti

Today is the 190th anniversary of her birth, December 5, 1830

A Birthday
By Christina Rossetti

My heart is like a singing bird
                  Whose nest is in a water’d shoot;
My heart is like an apple-tree
                  Whose boughs are bent with thickset fruit;
My heart is like a rainbow shell
                  That paddles in a halcyon sea;
My heart is gladder than all these
                  Because my love is come to me.

Raise me a dais of silk and down;
                  Hang it with vair and purple dyes;
Carve it in doves and pomegranates,
                  And peacocks with a hundred eyes;
Work it in gold and silver grapes,
                  In leaves and silver fleurs-de-lys;
Because the birthday of my life
                  Is come, my love is come to me.

from Ecce Ancilla Domini, or The Annunciation
by Dante Gabriel Rossetti

Excerpt from The Dove Upon Her Branch

Christina and William Rossetti posing
for the painting of Ecce Ancilla Domini
by Dante Gabriel Rossetti
in November 1849

     Another painting to pose for offered an alternative, productive engagement, being the handmaiden of the Lord a worthy occupation. William’s participation, not only as someone to accompany Christina to and from where their brother now worked on Newman Street above a hop-shop, but also to portray the Angel Gabriel, made for a happy distraction of camaraderie and creation.
     “Why is the painting tall and narrow?” Christina wondered with her first glance at the work in progress.
     “It is one-half of a diptych. Its companion will depict the Virgin’s death.”
     “Will you have both finished by spring for the RA?” William slapped his arms around himself in an attempt to warm his sleeveless, sheeted body. “Any more coal for the grate?”
     “Doubt it.” Gabriel urgently picked through the pile of brushes on the small pedestal table next to his easel.
     Christina noticed they were all thin-handled and fine-bristled.
     “No wonder it will take so long.” She also looked at his pallet, noticing he wasn’t mixing colors but using fresh daubs of unadulterated white, blue, and red paint.
     “I hope you won’t get bronchitis again.” William repositioned the woolen shawl that had slipped off her shoulders.
     “I haven’t even caught a cold.” Christina had resigned herself to shivering in her flimsy nightgown for the sake of Gabriel’s vision and to prove as enduring as any of the other models who sat for him.
     “Interesting.” As he leaned forward, William put a hand on his brother’s back. “Even with as little as you’ve done, I see the perspective of Giotto. Yet, I also see Flemish primitive, what you and Hunt were so taken with in Bruges. Before you started, I noticed you had followed Van Eyck’s practice of preparing the canvas with white ground.”
     Gabriel smiled, probably more because of his own thoughts than William’s. “I’m sure it will all seem a confused mess to those, like Ruskin, who think their opinions matter.”
     “A risk worth taking. But you must enter both panels together.”
     “I don’t paint to exhibit.”
     “You have to make a name for yourself, Gabe, a living. Your work has to be seen. And critiqued.”
     “Says the would-be critic.”
     “Now I see why you want me contorted on a corner of that saggy cot.” Christina though it wise to change the subject. “And all crinkly and looking about to jump up and run away.”
     “I thank Collinson for your disquiet.”
     They had spoken of many things during the hours of posing and painting, breaking to eat and drink, and for Christina and William to wrap themselves in blankets long enough to feel their fingers and toes again. Not once, until that moment, considering Gabriel was still brooding over Mr. Hunt falling into arrears with the rent at the Cleveland Street studio and defecting to James’ in Brompton, had anyone mentioned the man Christina had, without good reason, agreed to marry. She was almost convinced the last year of his waxing and waning hadn’t happened; that somewhere out there was the face not seen, the voice not heard, the heart that had not yet—
      Or, maybe they had been and it would if only it could.
Copyright © DM Denton 2020

Ecce Ancilla Domini, or The Annunciation
by Dante Gabriel Rossetti

Brief was the day of its power,
The day of its grace how brief:
As the fading of a flower,
As the falling of a leaf,
So brief its day and its hour …

from
Time Flies, A Reading Diary
by Christina Rossetti
December 5th entry
(First published 1885)

Christina Rossetti by Dante Gabriel Rossetti 1877

Sing, that in thy song I may
Dream myself once more a child

from Maud by Christina Rossetti

Christina Rossetti as a child, by William Bell Scott

Happy Birthday, Christina Rossetti

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

Beata Beatrix in the Artist’s Studio

One face looks out from all his canvases,

one selfsame figure sits or walks or leans …

~ Christina Rossetti from In The Artist’s Studio

Portrait of Elizabeth Siddal by Dante Gabriel Rossetti 1854

 

Today marks the birthday of Elizabeth “Lizzie” Siddal (July 25, 1849 – February 11, 1860), muse and eventual wife of the Pre-Raphaelite artist and poet Dante Gabriel Rossetti.

 

Dante Gabriel Rossetti sitting to Elizabeth Siddal

 

The story goes that, while working in a dressmakers and millinery shop in Cranberry Alley, London, she was noticed by the artist Walter Deverell, who with the help of his mother, persuaded her to pose as Viola for his painting Twelfth Night.

Twelfth Night by Walter Deverell 1851

First, she was Twelfth Night’s Viola for Deverell, a Celt for Hunt, and a chilled Ophelia for Millais. She posed and was paid to supplement what she made as a milliner’s assistant, Mrs. Tozer allowing her time off from her normal hours at the shop. She, her family, even Mrs. Tozer must have been wary, knowing modeling threatened her respectability. Christina had been safeguarded by her sisterly relationship to the Brotherhood. Miss Siddall had no such protection from artist licentiousness. How could her head not be turned by these handsome,at least, interesting, and imaginative men? How could she not be flattered by their impression of her—in Deverell’s words—as “a queen, magnificently tall with a lovely figure, a face of the most delicate and finished modeling … like the carving of a Pheidean goddess … her hair like dazzling copper … as she waves it down”?

© 2020 DM Denton
~ from my work-in-progress novel, The Dove Upon Her Branch, Christina Rossetti: Songs Light as Hers, Deep and Strong

 

Dante Gabriel Rossetti drawing of Elizabeth Siddal

 

By 1851, Lizzie was sitting for Dante Gabriel and became his primary model, the number of drawings and paintings he did of her in the thousands. Eventually, he prohibited her from posing for any other artist.

One of the most famous paintings she posed for was John Everett Millais’ Ophelia, floating on her back in a bathtub, oil lamps lit under the tub to keep the water warm. Unfortunately, during one session, the lamps went out. Millais was so engrossed in his work he didn’t notice and Lizzie didn’t complain. She became quite ill, with a cold or even pneumonia, her father threatening to sue Millais until he agreed to pay her medical bills.

 

Ophelia by John Everett Millais 1852

 

Even before she became a model for Dante Gabriel and other PRB artists, Lizzie was experimenting with art and poetry herself. Dante Gabriel encouraged her to pursue both and she made great strides, getting the attention of the prominent art critic John Ruskin who financially supported her artistic progress and efforts.  A little to the chagrin of Dante Gabriel as he struggled to sell paintings and be critically approved of?

 

Lovers Listening to Music by Elizabeth Siddal 1854

 

Lizzie and Dante Gabriel purportedly became engaged ten years before they actually married in 1860.

Marriage Portrait of Elizabeth Siddal by Dante Gabriel Rossetti 1860

Other than Dante Gabriel’s younger brother, William, Lizzie didn’t meet his family for years after their relationship intensified. Finally, in the spring of 1853, Dante Gabriel invited his youngest sister Christina to his studio and flat on Chatham Place in Blackfriars, London to be introduced to his “Sid”, his “Guggums”, his “Dove”.

Dante Gabriel Rossetti drawing of Elizabeth Siddal at Chatham Place (Blackfriars Bridge can be seen through the window in the background)

We found her hidden just behind those screens, that mirror gave back all her loveliness.

Dante Gabriel Rossetti drawing of Elizabeth Siddal

Miss Siddall was sitting slightly hunched, her arms reaching, resting between her knees, just below which her hands were clasped. Her waist, like the wicker chair she perched on was lost in the bunching of her skirt. Even with Lizzie’s torso swallowed in billowing grey and her shoulders slumped, her height was evident, her stretched neck, pointed chin uplifted, and thick, mahogany hair loosely ballooned on the nape of her neck elongating her.

A queen in opal or in ruby dress, a nameless girl in freshest summer-greens, a saint, an angel — every canvas means the same one meaning, neither more or less.

Christina saw what Gabriel did. Even simply, somberly gowned in cotton and shawled in wool, this woman was fascinating, not as she was but meant to be.

As Christina entered fully into her view, Lizzie stood up and took a few sliding steps towards her, greeting her visitor with heavy-lidded, kind if evasive grey-blue eyes, and extending her hand, warm in intention but cold in its flesh.

Oh, she is not well. I must be kind to her. I must … not jump to conclusions about her. I must … not mind Gabe loving her. Christina knew she acted more condescending than she felt, patting the other woman’s hand.

Gabriel rushed towards them, his arm around Lizzie to move her away from Christina. Taken by surprise, Lizzie was a ragdoll in his control; once she regained her will she shrugged him off.

“Well, what do you think, Chrissy?” Gabriel blurted, immediately clarifying his question. “Of the Blackfriars crib? The way the rooms are built out over the river, windows on all sides, there’s plenty of light and a magnificent view from the balcony of the Tower, Parliament, and Westminster Abbey. ”

“If only there wasn’t such a stink from the river.”

“I hardly notice anymore. During the day it’s busy and interesting. At night there’s the shimmering reflection of gas lamps on the bridge and wharf side.”

“He notices. In words I won’t repeat.” William stood before an easel-supported canvas it was obvious, by its illuminated position and proximity to paints and brushes, Gabriel was currently working on. “You’ve made good progress.”

“Which one is it?” Christina moved to have a look. “Oh, a watercolor,” she tried not to sound disappointed.

“Beatrice Meets Dante at a Marriage Feast.” William glanced between his brother and Miss Siddall.

“And denies him her salutation,” Gabriel added, not brave enough to look at Lizzie sitting and slumping again.

William leaned into the painting to examine it more closely. “He’s captured you for eternity.”

“Sitting for him certainly can seem an eternity.” Christina thought she saw Lizzie struggle not to smile.

“You didn’t refuse, even though Mama said you could.” Gabriel knew he was right. “I remember you begging to pose again.”

Christina did, too. “Well, your memory fails you. But one thing doesn’t.” She stepped back from the painting, looking around at all the other evidence of her brother’s vocation. “Having your muse constantly close.”

“I don’t live here,” Lizzie finally spoke, softly but emphatically.

According to William, it was true. She went home every night. Walking the short distance from his Somerset House office, he regularly dropped in on his brother after work, sometimes to stay the night. After all, it was his signature as co-owner and money that was keeping Gabriel at 14 Chatham Place. If Miss Siddall were still there, she would dine with them. Around nine or ten at the latest, one or the other of them would accompany her home about a mile and a half over the river to Old Kent Road, her father opening the door before she stepped up to it.

Gabriel and Lizzie were alone together at other times, their behavior left to the frailty of restraint. Word was she had practically lived there once, albeit while Gabriel was traveling, furtively coming and going as a woman so slim, faint, and quiet naturally could. I want to tell you that Lizzy is painting at Blackfriars while I am away. Gabriel wrote to William from Newcastle, assuming, as he often mocked the Rossetti siblings’ compulsion of “spilling the beans” to each other, Christina would know, too. Do not therefore encourage anyone to go near the place. I have told her to keep the doors locked. I’m assuming she’ll probably sleep there sometimes.

Gabriel included a caricature of himself thumbing his nose at his landlord.

Christina wondered what lie Lizzie told her family, obviously abetted by someone they trusted, regarding those nights her father didn’t wait for her to return home.

There was something other than the ambiguity and unconventionality of Gabriel’s relationship with Lizzie that, although it may have protected her honor, made Christina even more uneasy. It stemmed from his turning the Rossetti scholarly obsession with Dante Alighieri and his elusive Beatrice into a quest for an actualized perfect love: The Blessed Damozel. He thought he had found her, lean’d out from the golden bar of heaven, in a hat girl, whose grandfather was a Sheffield scissor-maker, her father a south-east London cutler, her distinctive tresses inherited from her mother and fondness for poetry beginning when she discovered Tennyson’s on a piece of paper wrapped around butter.

The legend of Lizzie was well underway.

© 2020 DM Denton
~ from my work-in-progress novel, The Dove Upon Her Branch, Christina Rossetti: Songs Light as Hers, Deep and Strong

 

Beata Beatrix by Dante Gabriel Rossetti (completed after Elizabeth Siddal’s death)

In the Artist’s Studio

One face looks out from all his canvases,
One selfsame figure sits or walks or leans:
We found her hidden just behind those screens,
That mirror gave back all her loveliness.
A queen in opal or in ruby dress,
A nameless girl in freshest summer-greens,
A saint, an angel — every canvas means
The same one meaning, neither more or less.
He feeds upon her face by day and night,
And she with true kind eyes looks back on him,
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream.

 ~ Christina Rossetti

 

Christina Rossetti by Dante Gabriel Rossetti

 

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.

Christina Rossetti: Celebrating Her Natal Day

To-day’s your natal day;
Sweet flowers I bring:

“A Vision of Fiammetta (detail)” by Dante Gabriel Rossetti

In April 1842, the English poet Christina Georgina Rossetti, at the age of eleven, penned those opening lines to a poem actually written for her mother’s birthday.

Christina Rossetti and her Mother Frances Rossetti, 7th October 1863, by Charles Dodgson (AKA Lewis Carroll)

 

Christina is the subject of my work-in-progress next novel and today is the 189th anniversary of her birth, December 5, 1830. It is an immense undertaking, satisfying, if very challenging, writing about her. Especially as I am very much occupied and often exhausted by the care of my elderly mom these days. (Hence my infrequency posting lately)

She was part of a remarkable family of English-Italian scholars, artists, and poets, her older brother being Dante Gabriel Rossetti, founder of the Pre-Raphaelite Brotherhood. You can read a brief bio I did of her for The Literary Ladies Guide.

I’m going to share a different excerpt than I did last year when I originally created this post. This one depicts Christina and her mother posing for Dante Gabriel’s first completed oil painting: The Girlhood of Mary Virgin.

The Girlhood of Mary Virgin 1849 by Dante Gabriel Rossetti

On the second visit, a few days later, Christina didn’t notice the shadiness and shabbiness of the location and look of Gabriel’s lodging and studio, her mother’s hand holding hers rather than the other way around. Her ascent into a holy scene, where she would inspire the painting of purity, felt like the best thing she had ever done. The light from the east—why Gabriel wanted them there early in the morning—miraculously broke through the rain and fog intent on spoiling that October. This time everything was ready for Christina to pose at the needlework frame Gabriel had convinced Aunt Eliza to part with for a few days, which he counted over a few weeks. No sooner Christina had, as she thought, perfected her leaning, her brother decided he wanted his Mary to sit upright, “in duty circumspect”, to the attention of her actual and acting mother, who was stiffly seated adjacent to her.

Gabriel came over and delicately adjusted their hand positions to be close but not touching. “There must be no doubt you are pious, humble, devoted to, and, yet, distinct from each other.”

“There won’t be, son, if you portray us as we are.”

He had requested his sister wear a modest dress, no bright colors, not black or grey, and with very little lace or other adornment. Christina had one she thought would do: beige, like the beach where she had last worn it, the summer sun had faded it, and splashing algae had stained its hem, its removable collar no longer crisp or undoubtedly white. He loosened her hair and, after putting the pins in his pocket, pushed it behind her shoulders “so it might seem longer than it was”. Fiddling with the folds of her skirt, he ordered her not to move from “how he sculpted” her, asking the same of their mother whose favorite shawl functioned as a wimple, while a large, musty blanket, definitely not favored by her, served as a mantle.

“Don’t close your eyes, Mama,” Gabriel gave yet another command.

“I thought it might be appropriate to pray.”

“Not in the Art Catholic’s church.”

“May we blink?” Christina hoped she might ease the seriousness that overcame Gabriel once he was behind his easel. His refusal to humor her made her say rather harshly, “May we even breathe?”

He grunted and, when he dropped his brush, swore.

“At least, until he makes you immortal,” quipped Mr. Hunt from his own creative corner of the League of Sincerity.

from The Dove Upon Her Branch Copyright © 2019 by DM Denton

Dante Gabriel and Christina Rossetti from a photograph by Charles Dodgson (AKA Lewis Carol)

Sing, that in thy song I may
Dream myself once more a child

from Maud by Christina Rossetti

Christina Rossetti as a child, by William Bell

 

Happy Birthday, Christina Rossetti

 

©Artwork and writing, unless otherwise indicated, are the property of Diane M Denton. Please request permission to reproduce or post elsewhere with a link back to bardessdmdenton. Thank you.