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If you have an hour to spare on this chilly Armistice Day, I recommend spending it with Derek Jarman’s haunting 1989 film War Requiem.  With no spoken dialogue it has the same dreamy, shadowy quality that made Caravaggio one of my favourite films*, juxtaposing gentle, balletic human interaction in chalky light with painterly nightmare sequences suggestive of Hieronymus Bosch’s Hell. All shot on a budget of about £3.50.

If nothing else, watch the sacrifice scene at 43:06. Nathaniel Parker looking like a moustachioed Edwardian angel as the cigar-puffing masses watch from a safe distance, rouged and smiling, is one of the darkest, most gorgeous few minutes of film I’ve ever seen. Nathaniel’s trusting little smile – oh, God.

* I use Caravaggio as a method of gauging character. If you can sit through it happily, you’re an alright sort. If you love it as much as I do, you can stay.

Nudity, holy dirt, and bone-picking at Kelmscott Manor

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“I am inclined to think that sort of thing is mostly rubbish” – William Morris, on his own work.

I managed to crawl my way out of last week’s all-pervading October fog – Dickensian or Hitchcockian, depending on the monsters looming out of it – to get to the Edward Burne-Jones exhibition at Kelmscott Manor.

The Body Beautiful: Burne-Jones At Work, was partly a goodwill gesture on behalf of The Tate, who carefully dismantled William Morris’ Kelmscott bed and took it to London for the Pre-Raphaelite: Victorian Avant-Garde show*. To be honest, I was expecting the Tate’s rejects. (“We’re having Love Among The Ruins. You can have this teacup.”) But the collection of hazy nudes and tactile studies, although small, was well worth the three-hour drive from Cambridge.

“It’s so flat that to see anything is not easy, and when you do see it, it isn’t worth seeing” – Rossetti, indulging in a grump.

For those of you who haven’t ventured out into the wilds of Lechlade to William Morris’ earthly paradise, let me first explain that Kelmscott exists inside a cosmic bubble. The modern world has been kept at such a distance, you can comfortably believe it no longer exists. The house and surrounding farm buildings have been preserved as sensitively as possible, encouraging visitors to see it as a home and not a museum. The weather is constantly mellow and glorious, and the carpark and the cafe are minor details – you can convince yourself that Morris has just pootled off to Iceland, and Jane is probably embroidering in the next room.

The illusion is compounded by little domestic details unfettered by velvet ropes. Rossetti’s satinwood writing desk (on wheels!) is so dinky, I wouldn’t get my legs under it. The general smallness of the house’s Victorian occupants was especially apparent in Morris’ overcoat, hanging from a door in the same room. Manchester, Liverpool, Birmingham, Paris says the label, as if fresh off the catwalks. You can imagine him bustling about in it.

And then, upstairs…

The Body Beautiful: Burne-Jones at Work  

What I love about Burne-Jones’ nudes, especially the females, is their long, cold, anatomical beauty. There’s a sickliness about them I enjoy.

Of the small collection of studies, especially striking was the snake-necked Disiderium, the head of Amorous Desire, as dangerous as she is gorgeous. While some of the sketches looked scratched out and hurried, Disiderium oozes off the paper with the same anthropomorphic sensuousness present in Beguiling Merlin. More ‘the body bewitching’ than ‘the body beautiful’.

Woman In An Interior features Rossetti’s cockney darling, Fanny Cornforth, looking hard as nails. She wasn’t invited to stay at Kelmscott with him, strangely enough. I like her masculinity, here. Many men in Rossetti’s circle were mildly afraid of her, despite her being, by most accounts, a cheerful presence.

It’s a shame the exhibition was so little-publicised, because fans of Ned would really have loved this, especially given the extraordinary setting.

 

The certain secret thing he had to tell

Some of Rossetti’s worst illness and addiction was played out at Kelmscott, so it’s a sad place as much as a lovely one. When I last visited, I was in the midst of post traumatic stress disorder, and it was easy to see how the landscape of flat, marshy fields and slowly-flowing streams could be as much a help as a hindrance to someone suffering from an untreated mental illness. May Morris remembered him in his black cloak, “tramping away doggedly” across the landscape alone.

Jane, whose collected letters were published this month, doesn’t get much in the way of a ‘voice’ in comparison to the men at Kelmscott. Her job is muse. Embroiderer. In the dining room, I tried to imagine her as Burne-Jones described her at nineteen, laughing “until, like Guinevere, she fell under the table”, and found I couldn’t. Amusingly, on her bedside table today are the collected letters of noted drunkard and amateur sadist Algernon Swinburne, open on a page extolling “cannibalism as a wholesome and natural method of diet”. Oh, Algie, you card.

It’s amazing I ever got back in the car.

I have a bone to pick with The Society of Antiquaries.

Rossetti’s bombsite of a paintbox resides upstairs in the tapestry room he commandeered for the light. In hilarious contrast to Millais’ pristine palette, Rossetti’s paintbox looks like something you’d find at the bottom of a skip. All his squeezed tubes (missing their tops, naturally) are congealed together in a shallow tin box encrusted with lead drippings, studio detritus, and a sort of greenish, yellowish coating of grotesquery and rust.

It’s gorgeous.

The room attendant, who very tolerantly said, “I’m touched you react that way” when I basically had a fit of the vapours over the thing explained the paintbox is a conservationist’s nightmare. Like Beata Beatrix, which was restored in time for The Tate, the paintbox contains a certain amount of ‘holy dirt’: original detritus from Rossetti’s studio. The trick is to separate the holy dirt from the decades of accumulated filth and decay without damaging the artefact. The trouble is, they haven’t started the process yet. And from the sounds of it, there are no plans to.

I wish I could share a photograph of it here, but photography is strictly forbidden. There are no postcards of the paintbox either, and because it isn’t labeled, half the visitors are walking by it without ever knowing what it is.

I feel the need to start a campaign. Look here, Society of Antiquaries, print some postcards, and put the proceeds towards protecting that precious paintbox!

* Before any Morris fans worry, the crew photographed each step of the disassembly, so not a single tiny, precious screw will be forgotten when the bed eventually returns.

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As it’s National Poetry Day, I’d like to share my favourite Dante Gabriel Rossetti poem. (Besides the one rhyming ‘wombat’ with ‘flings a bomb at’, lest we forget).

Sudden Light was written in 1854, when life was relatively good for Rossetti. This was the period when he and Lizzie Siddal were holidaying in Hastings together, and the romantic optimism of the poem makes it a lovely window into that time.

Sudden Light

I have been here before,
But when or how I cannot tell:
I know the grass beyond the door,
The sweet keen smell,
The sighing sound, the lights around the shore.

You have been mine before,—
How long ago I may not know:
But just when at that swallow’s soar
Your neck turned so,
Some veil did fall,—I knew it all of yore.

Then, now,—perchance again! . . .
O round mine eyes your tresses shake!
Shall we not lie as we have lain
Thus for Love’s sake,
And sleep, and wake, yet never break the chain?

There are two versions, with differing final stanzas. This is the earlier of the two – the other was published some time after Siddal’s death, with a more melancholy slant. I prefer the first, but make up your own mind.

Has this been thus before? 
And shall not thus time’s eddying flight
Still with our lives our love restore
In death’s despite, 
And day and night yield one delight once more? 

Pre-Raphaelites: Victorian Avant-Garde at Tate Britain

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I spent yesterday trapped in a gridlock of uncomfortably warm bodies amongst the Pre-Raphaelite Brotherhood.

Yes, it was as fantastic as it sounds.

This post isn’t going to be remotely succinct or clever. I just want to gush. I loved it. So many of my favourite things in one place. And having the opportunity to sit and chat with fellow PRB-lovers afterwards was just terrific.

Kirsty Stonell Walker of ‘The Kissed Mouth’ and I, modelling Doc Martens, the unofficial footwear of PRB-admirers everywhere.

A lot has been said in the press recently, some more sensible than the rest. There’s been the obligatory game of Hunt The Phallus, and general moaning about how the PRB would have been so much better if they’d just dropped a shark into a tank of formaldehyde. But were the PRB truly Avant-Garde?

I come at the PRB from a literature point of view. My MA focused on Rossetti’s cycles of desire and denial in The House of Life. So although I know a fair bit about the PRB’s visual art, the wider subject of Avant-Garde isn’t something I feel I can comment on.

However, I can give my top five moments:


5. I saw Rienzi. It was blue. So blue. Hunt’s colours are so  psychedelic and trippy – mountains are purple, flesh is orange, goats are bizarre and terrifying. His work has to be seen to be fully experienced.

4. The passion flowers in Rossetti’s The Blue Bower were like glossy photographs. As Edward Burne-Jones said, Rossetti somehow makes everything look as if it’s under glass, though he swore he didn’t use glaze.

3. Rossetti’s Paulo and Francesca da Rimini. Strangely washed-out and chalky compared to the print on my wall. Francesca’s incredibly long hair has the texture of real long, fine hair in contrast to the lustrous thickness of the hair in his later work.

2. Speaking of lustrous hair, Rossetti’s teenage self-portrait was hung in the first room to lure in all the ladies.

1. Walter Howell Deverell’s Twelfth Night. I hadn’t allowed myself to read spoilers about the exhibition, so turning a corner and seeing this was a huge surprise. I was so happy for him.

You see, poor Deverell had no luck.  So handsome (that’s him in the middle and Rossetti on the right) and so promising a talent, his work was badly hung at the RA, his The Banishment of Hamlet was later destroyed in a gas explosion, and he died of kidney disease and dysentery three months after his 26th birthday.

Deverell’s decline and death hit Rossetti hard. One of the last times Rossetti visited him, “[Deverell] rose up in bed as I was leaving and kissed me, and I thought then that he began to believe that his end was near”.

The whole story is so sad. It was good to see him represented.

I had a few small criticisms, but only on the understanding that the exhibition was wonderful and I’ll probably go back at least twice.

Of course, there were pieces I was dying to see that weren’t included. Julia Margaret Cameron’s Pomona, for one: Alice Liddell, all grown up and threateningly beautiful. And I’m always hoping for a second viewing of a lock of Rossetti’s hair, which I saw at the Fitzwilliam a few years ago (alongside Keats’ hair!) – a sight I never fully recovered from.

I did feel that the show could have been organised differently. It was a mammoth undertaking and difficult to tackle, but I felt that the different facets of the Pre-Raphaelite circle needed their own space. There was an element of jumbling that was interesting for people with prior understanding of the PRB, but perhaps confusing for those coming in cold.

I think the problem in creating an entire PRB exhibition is that you’re dealing with so many people who all evolved dramatically in taste and execution over a period of decades. So you’ve got Rossetti offering tiny jewel-toned watercolours in one room, and then massive red-lipped vampiric creatures in the next. You want to ask what happened.

Perhaps a clearer linear structure could have added something. For instance, ‘this is what they hated, here’s how they banded together, here’s how they evolved and the legacy they left’. I also would have loved to have seen at least part of the manifesto emblasoned somewhere, because everyone loves a good manifesto.

I dare you to open that fridge door.

And then there was the gift shop. The £25 strings of plastic beads would have left William Morris reeling. Expensive satchels and striped scarves were very nice but had nothing to do with the PRB. We were hoping for a bit more effort. Having said that, my life has been enriched by the possession of a Scapegoat fridge magnet.

Overall, though, what an overwhelming experience. Next up, Edward Burne-Jones at Kelmscott!

“Madam, I am not an ‘ite’ of any kind.”

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In later life, Rossetti liked to shrug off his connection to the Pre-Raphaelite Brotherhood. To admirers, he gently dismissed the whole movement as “the visionary vanities of half a dozen boys.”

To which I say “pah!”, because tomorrow is the 164th anniversary of the formation of The Brotherhood – #PRBday on Twitter – and, unlike Claret Day, the celebration is officially sanctioned by The Pre-Raphaelite Society and not simply another excuse to drink red wine and look louche.

This is the autumn of the PRB. My date with The Tate is looming. I’ll be meeting up with Kirsty of The Kissed Mouth and Robyne of Artistic Dress on the first Saturday to empty the Tate’s shop of frighteningly expensive fridge magnets. Then, in October, it’s straight to Kelmscott Manor for the little-advertised Edward Burne-Jones exhibition which will probably prove my undoing.

I’ve tried to avoid spoilers, but… The Tate has Holman Hunt’s Rienzi (full title Rienzi vowing to obtain justice for the death of his young brother, slain in a skirmish between the Colonna and the Orsini factions – what were you thinking, Hunt, honestly?) which was on my wall for five years when I was a student and has been hidden away in a private collection for the entire span of my life. Rossetti modeled for the hero, hence the flying saucer eyes and the my-uncle-knew-Lord-Byron-actually hair. That’s Millais, dead on the ironing board. If I can get a long, clear look at it, I’ll be happy for years.

How will you celebrate PRB Day? Catch me on Twitter and vote for your favourite painting using #PRBday. I will be baking a cake in honour of great art.

Slap a catalogue number on me, Henry.

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Is there anything better than perusing glossy photographs of artificial limbs and trepanned skulls over one’s breakfast? I think you’ll find there isn’t.

This week, I won a copy of the Wellcome Collection’s brand new ‘Guide For The Incurably Curious’.

Wellcome is my favourite museum. If you have the slightest interest in wunderkammer, it’s a playground. The perfect balance of the medical, the historical, the scientific and the artistic, lovingly founded by Victorian philanthropist Henry Wellcome. Look upon his facial hair and tremble.

I’ve spent birthdays there, handling live leeches and drinking gin. I’ve seen Mexican miracle paintings there, verdigris mediaeval skeletons, and glass acorns for warding off lightning strikes. Once, an attendant saw how excited my friends and I were and fetched us goodie bags complete with wearable cardboard moustaches.

Science museums can feel unfriendly to artsy types, but at the Wellcome, the two disciplines interact. Upstairs, in the cool white Medicine Now room, slides of organs are displayed alongside barmy art (there’s a giant purple jellybaby as a metaphor for human cloning). Downstairs, in the darker, more anthropological Medicine Man room, you’ll find a wall of antique forceps and some beautifully detailed glass eyes which could easily be items of jewellery or sculpture. Plus, there’s a Bosch painting, and everyone loves a good Bosch.

But I think what I love the most about the Wellcome Collection is that, in a manner of speaking, I’m in it.

I have Marfan syndrome. The National Marfan Foundation explains:

Marfan syndrome is a disorder of the connective tissue.

Connective tissue holds all parts of the body together and helps control how the body grows.  Because connective tissue is found throughout the body, Marfan syndrome features can occur in many different parts of the body.

Marfan syndrome features are most often found in the heart, blood vessels, bones, joints, and eyes. Sometimes the lungs and skin are also affected.  Marfan syndrome does not affect intelligence.

Specifically, Marfans is caused by a kink in the fifteenth chromosome. So imagine the surreal excitement I felt when I turned a corner in the Wellcome Collection and came across this:

There it is. The Human Genome Project, chapter 15, subheading ‘Verity’s Wonky Genes’. I took it from the shelf with both hands. Buried amongst the reams and reams of baffling code inside was the string of glyphs that spelled out Marfan Syndrome.

Only one in five-thousand people have Marfans. The syndrome will generally make you around six feet tall and willowy in build, with exceptionally long, spidery fingers and toes. You may have a curvature of the spine or an uneven ribcage, and you can probably bend your thumbs into strange angles. Abraham Lincoln probably had it, as did Jonathan Larson, Joey Ramone, and, I strongly suspect, Lux Interior of The Cramps.

Marfans can affect you in all sorts of strange, annoying, sometimes life-threatening ways. Individual Marfs differ. As for me, I’m well looked-after by good doctors. I pace myself, I watch my diet and try not to be a stubborn ass when it comes to clinging to the barrier at Morrissey concerts or vigorous charity shopping the weekend after minor heart surgery. (Although holding hands with Morrissey and acquiring an antique nursing chair for £10 were worth the resulting drama).

One of the things about having an unusual health problem is that you can end up feeling alienated. That’s why I love the Wellcome Collection. Things that could be clinical or morbid, like Jennifer Sutton viewing her old heart after her successful transplant, are greeted with curiosity and joy.

It’s an ambition of mine to get Marfans into the Wellcome more prominently. Short of standing in the entrance hall with a sign on me, I don’t know how to raise awareness. I’m not quite ready to donate my hands. But it’s a syndrome that really lends itself to art. Maybe I can use my nonexistent artistic ability to chop up my MRIs in a nice lightbox, or draw an Edward Gorey-esque bunch of spidery fingers. Or, better still, persuade someone  who actually knows what they’re doing to put Marfans in front of the lens, like Alexa Wright’s ‘After Image’ series.

Where’s an artist when you need one?

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It’s been one of those summers.

I took a short writing holiday at the end of last month. There were graphs and coloured pens and a real teapot. Strictly no gin, and no Internet – serious stuff. During those four days, I rediscovered the immense mental health benefits of just knuckling down and doing the one thing in life you truly want to do. Surprisingly, I also came to appreciate how the everyday commitments that keep you from writing can be useful. The frustration steels your determination. There must be a proverb to that effect floating around. Probably by Hafiz.

The result is that the novel is so much closer to completion and I’m so much more buoyant about life in general. And also petrified. I’m human.

On the subject of terror and joy, today is exactly one month away from my visit to the Tate’s Pre-Raphaelite exhibition. How am I going to contain myself in the gift shop? What am I going to wear? How am I going to stop myself from standing in front of a minor sketch with my hand clamped over my mouth, whimpering “isn’t it just the most wonderful thing in the world?” like I did to some poor man at the Fitzwilliam who was just trying to be friendly by pointing out the extra piece of paper Rossetti had glued on to extend Alexa Wilding a few inches.

“[Rossetti] did not sleep, and neither did he compose himself to rest, though the lamps of the carriage were darkened by their shades. During the greater part of the night he sat up in an attitude of waiting, wearing overcoat and hat and gloves, as if our journey were to end at the next stopping place.” – Hall Caine, Recollections of Rossetti.

You and me both, DGR. See you in London!

Rossettifest – the Rossettis at Highgate Cemetery with Dinah Roe

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Yesterday, I hopped on the train to attend another talk at Highgate cemetery, this time by Dinah Roe, author of The Rossettis In Wonderland: A Victorian Family History. A great chance to meet up with friends and talk about my favourite thing in the world – the wonderful, strange Rossetti family.

Jan Marsh had advice for Dinah when she embarked upon Wonderland: “Be careful not to let Dante Gabriel run away with the story”. Sure enough, DGR Superstar wasn’t centre stage last night. Instead, Dinah focused on those family members interred at Highgate:

  • Mother Frances, who quoted Byron in her commonplace book and wished her children had been born with a little less genius and a little more common sense.
  • Father Gabriele, revolutionary poet, exile, and prime example of how excessive close-reading under the influence of the Freemasons will do you no good.
  • Daughter Christina, the baby of the family, who struggled with feelings of under-achievement. (What hope is there for the rest of us?)
  • Son William, The Dependable One, who made his mark as Pre-Raphaelite chronicler and a respected critic of art and literature.
  • Daughter-in-law Lizzie Siddal, grudgingly accepted into the family, perhaps only after her death.
  • The three Polidori aunts: Eliza, Charlotte, Margaret. Intimidating, witty and tough.

Italian, exiled, religiously and intellectually radical, the two families were always going to encounter suspicion in Victorian England. Viewing themselves as Londoners first and foremost, they tended to close in on themselves for emotional and creative support, creating an intense environment that makes for a fascinating talk in a pseudo-medieaval chapel whilst sheltering from June rain.

What I enjoyed most about Dinah Roe’s talk, and the book, was that she allows space for the family to be tremendously funny and surprising. It’s all too easy to take a High Romance view of the Rossettis, obscuring their wit and affection. These were, after all, the siblings who liked to roll around on the floor, re-enacting violent deaths from the novels of Walter Scott.

Thanks to William chronicling the Pre-Raphaelite Brotherhood’s every move, we know that the critics called Dante Gabriel and the other PRBs ‘young gentlemen with animal faculties morbidly developed by too much tobacco and too little exercise’ – which sounds great – or, in other words, ‘unmanly’. Because being feminine is the absolute worst of the worst, obviously. You might as well be some kind of mollusc.

The unmarried Polidori sisters, on the other hand, were comparatively macho. Wearing threadbare unfashionable dresses, striding across decks, appreciating ‘pretty boys’, and healing the wounded alongside Frances Nightingale, these weren’t women content to sit at home and embroider. I shan’t recount all their adventures here, but if you’re in need of an antidote to the Victorian matriarch – read the book.

I was inordinately pleased to hear the Polidoris getting some attention. John Polly-Dolly Polidori, author of The Vampyr and possibly the first man to deliberately hit Lord Byron with an oar*, is a favourite of mine. He must have been the coolest uncle for a romantically-minded bunch like the Rossetti children. This rather fetching portrait hung in the family home. To be reading Shelley as teenagers and knowing their uncle knew him, bickered with him, and eventually shared a similarly sad, early death, must have been yet another reminder that theirs was a very special family indeed.

The highlight of the evening – and I’m about to betray my geekiness here – was the inclusion of three recipes from the family cookbook. Histrionic Gabriele hated English food, so his wife duly replicated Mediterranean dishes for him throughout their marriage: Macaroni soup (containing a mere 2lb of beef), a cheeseless lemon cheesecake allegedly safe to store for six months, and a sugary rum punch Christina called ‘grog’. If I ever feel like adding diabetes to my list of ailments, I’ll give them a go.

Something interesting happened when the floor was opened to questions. A lady asked a question I’d asked Lucinda Hawksley last time: does anyone know what happened to Lizzie and Dante Gabriel’s stillborn baby? I’ve never found the slightest clue. So, if you know what generally happened to stillborn babies in the mid-Victorian period, chime in.

As always, Highgate is the loveliest possible place to gather for a talk. The staff (who now know my boyfriend and I by name – have we been spending too much time there?**) are friendly and sympathetic to the misguided compulsion that sends guests creeping up the steps to the unstable west cemetery, where you’re as likely to stumble upon a Victorian luminary as get brained by a falling tombstone.

It’s always lovely to meet other PRB enthusiasts, and Dinah Roe was no exception. Especially in the rain, when I was glowing under the influence of one too many £1 glasses of Highgate red wine. The Rossettis will have that effect on you.

* See Benjamin Markovits’ Imposture (Byron Trilogy) for a fictionalised account of John’s adventures.

** I have a thing about visiting Highgate in inclement weather. The first time, on a snowy Valentine’s day out, my boyfriend and I managed to get ourselves locked in after twilight closing time. So, on one hand, we had to lurk around the gate and beg a passing couple to alert the gatekeeper, but, on the other, we now get to reminisce about “the time we were locked into a Victorian necropolis…on Valentine’s day. Sigh.”

The Victory of The Victim

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Thank you to everyone who has already downloaded Contraindications.

We arrived back in London two days ago to a dismal reception of rain and royalty, but I could talk for weeks about Venice. The aftershocks of the earthquake 80 miles away (which I mistook for one of my dizzy spells until the doors began to rattle); Watching dumbstruck from our darkened kitchen as a tremendous electrical storm battered Lido with white strobe light; The sad sight of St Mark’s Square flooding at night, as if the Doge had left his bath running…

But of all the wonderful things the city had to offer, my favourite was this 3 Euro postcard.

I found it – along with some startlingly expensive tin ex votos – on a market stall run by two little old ladies who managed not to laugh at my bad Italian.

After scampering away with my prize, I wondered if the skeleton was King Cholera, hence the K, but after some Googling, it turns out that this postcard is called The Victory of The Victim. It’s the final card in a series of six commemorating the shooting of nurse Edith Cavell in 1915. Here they all are, in their shameless gothic glory. Higher resolutions scans of four can be found here.

I’ll admit I don’t know much about Edith Cavell beyond the fact that she was from Norfolk and that, by killing her, the Germans created an Allied martyr whose image went global in days. And it’s little wonder. Artist Tito Corbella, usually so frothy and Art Nouveau, turned Cavell into a Madonna-like wraith wafting around on a background of bloody hellfire, while Kultur (the symbol of German supremacy, replete with cloak and harpsichord) might as well be played by Peter Cushing. For someone so accustomed to painting pretty pastel frocks, Corbella had form when it came to propaganda.

Interestingly, the English batch of Corbella’s postcards were printed in London’s Red Lion Square, where Rossetti lived on two occasions. Small art world.

The idea of an international martyr from Norfolk is a touch surreal. It’s Norfolk. Norfolk. That flat black wasteland of impassioned fiery doom, and… Bernard Matthews. And the image is so Italian. That stare. Those fetishised silent film lips. I love it. What a find.