"The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, as well as the title of his painting (and its replica) illustrating the subject. The poem was first published in 1850 in the Pre-Raphaelite journal The Germ. Rossetti subsequently revised the poem twice and republished it in 1856, 1870 and 1873.[1]
The poem was partially inspired by Edgar Allan Poe's poem "The Raven",[2] with its depiction of a lover grieving on Earth over the death of his loved one. Rossetti chose to represent the situation in reverse. The poem describes the damozel observing her lover from heaven, and her unfulfilled yearning for their reunion in heaven. The first four stanzas of the poem are inscribed on the frame of the painting:
The blessed damozel leaned out From the gold bar of Heaven; Her eyes were deeper than the depth Of waters stilled at even; She had three lilies in her hand, And the stars in her hair were seven.
Her robe, ungirt from clasp to hem, No wrought flowers did adorn, But a white rose of Mary's gift, For service meetly worn; Her hair that lay along her back Was yellow like ripe corn.
Herseemed she scarce had been a day One of God's choristers; The wonder was not yet quite gone From that still look of hers; Albeit, to them she left, her day Had counted as ten years.
(To one, it is ten years of years. . . . Yet now, and in this place, Surely she leaned o'er me—her hair Fell all about my face. . . . Nothing: the autumn fall of leaves. The whole year sets apace.)[1]
Paintings
Replica by Rossetti, 1879, sold to Frederick Leyland. Now at the Lady Lever Art Gallery.
The Blessed Damozel is the only one of Rossetti's paired pictures and poems in which the poem was completed first. Friends and patrons repeatedly urged Rossetti to illustrate his most famous poem,[3] and he finally accepted a commission from William Graham in February 1871. After the work was completed Graham requested a predella, the lower part of the painting, on December 31, 1877. His total cost was £1157. Alexa Wilding modelled the damozel in Paradise, Wilfred John Hawtrey modelled the child–angel, and the probable model for the left–hand angel was May Morris.
Six Rossetti paintings as hung in Leyland's drawing room, 1892. The Blessed Damozel hangs third from the left. (Click on any painting for its article.)
Another, later version is in the Lady Lever Art Gallery. Frederick Richards Leyland commissioned eighteen paintings from Rossetti, not counting unfulfilled commissions. Soon after Leyland acquired his first Rossetti painting, he and Rossetti explored the idea of a Rossetti triptych, which was eventually formed with Mnemosyne, an 1879 replica of The Blessed Damozel painted by Rossetti himself, and Proserpine.[5] Three additional Rossetti paintings were then hung in Leyland's drawing room, all of which Leyland called "stunners."[4]
Wildman, Stephen; Laurel Bradley; Deborah Cherry; John Christian; David B. Elliott; Betty Elzea; Margaretta Fredrick; Caroline Hannah; Jan Marsh; Gayle Seymour (2004). Waking Dreams, the Art of the Pre-Raphaelites from the Delaware Art Museum. Art Services International. p.395.
Wikisource has original text related to this article:
Gabriel Charles Dante Rossetti, generally known as Dante Gabriel Rossetti, was an English poet, illustrator, painter, translator and member of the Rossetti family. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt and John Everett Millais. Rossetti inspired the next generation of artists and writers, William Morris and Edward Burne-Jones in particular. His work also influenced the European Symbolists and was a major precursor of the Aesthetic movement.
Elizabeth Eleanor Siddall, better known as Elizabeth Siddal, was an English artist, artists' model, and poet. Siddal was perhaps the most significant of the female models who posed for the Pre-Raphaelite Brotherhood. Their ideas of female beauty were fundamentally influenced by her, or that she personified these ideals. Walter Deverell, William Holman Hunt, and John Everett Millais all painted Siddal, and she was the model for Millais' famous painting Ophelia (1852). Early in her relationship with Dante Gabriel Rossetti, Siddal became his muse and exclusive model, and he portrayed her in almost all his early artwork depicting women. Siddal became an artist in her own right and was the only woman to exhibit at a 1857 Pre-Raphaelite exhibition. Significant collections of her artworks can be found at Wightwick Manor and the Ashmolean. Sickly and melancholic during the last decade of her life, Siddal died of a laudanum overdose in February 1862 during her second year of marriage to Rossetti.
A Vision of Fiammetta is an oil painting created by Dante Gabriel Rossetti, in the Pre-Raphaelite style, created in 1878. The painting was one half of one of Rossetti's "double works", accompanying his Ballads and Sonnets (1881). Maria Spartali Stillman modelled for the painting. The subject of painting is Boccaccio's muse named Fiammetta.
William Graham, Liberal MP for Glasgow, was a Scottish politician, wine merchant, cotton manufacturer and port shipper. He is remembered as a patron of Pre-Raphaelite artists like Edward Burne-Jones and Dante Gabriel Rossetti and a collector of their works.
Beata Beatrix is a painting completed in several versions by Pre-Raphaelite artist Dante Gabriel Rossetti. The painting depicts Beatrice Portinari from Dante Alighieri's 1294 poem La Vita Nuova at the moment of her death. The first version is oil on canvas completed in 1870.
Dante's Dream is a painting from 1871 by the English Pre-Raphaelite painter Dante Gabriel Rossetti. It hangs in the Walker Art Gallery, Liverpool.
Lady Lilith is an oil painting by Dante Gabriel Rossetti first painted in 1866–1868 using his mistress Fanny Cornforth as the model, then altered in 1872–73 to show the face of Alexa Wilding. The subject is Lilith, who was, according to ancient Judaic myth, "the first wife of Adam" and is associated with the seduction of men and the murder of children. She is shown as a "powerful and evil temptress" and as "an iconic, Amazon-like female with long, flowing hair."
Alexa Wilding was one of the favourite models of the Pre-Raphaelite artist Dante Gabriel Rossetti, featuring in some of his finest paintings of the later 1860s and 1870s. She sat for more of his finished works than any other of his more well-known muses, including Elizabeth Siddall, Jane Morris and Fanny Cornforth.
Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.
Ecce Ancilla Domini, or The Annunciation, is an oil painting by the English artist Dante Gabriel Rossetti, first painted in 1850 and now in Tate Britain in London. The Latin title is a quotation from the Vulgate text of the first chapter of the Gospel of Saint Luke, describing the Annunciation, where Mary accepts the message brought to her by the Angel Gabriel that she would give birth to a child (Jesus) by God.
The Beloved is an oil painting on canvas by the English artist Dante Gabriel Rossetti (1828–1882), now in Tate Britain, London. Rossetti signed his initials and the date as "1865-6" on the bottom left of the canvas. It depicts the bride, or "beloved", from the Song of Solomon in the Hebrew Bible as she approaches her bridegroom, with her attendants.
Pia de' Tolomei is an oil painting on canvas by English artist Dante Gabriel Rossetti, painted around 1868 and now in the Spencer Museum of Art, on the campus of the University of Kansas in Lawrence, Kansas.
Proserpine is an oil painting on canvas by English artist and poet Dante Gabriel Rossetti, painted in 1874 and now in Tate Britain. Rossetti began work on the painting in 1871 and painted at least eight separate versions, the last only completed in 1882, the year of his death. Early versions were promised to Charles Augustus Howell. The painting discussed in this article is the so-called seventh version commissioned by Frederick Richards Leyland, now at the Tate Gallery, with the very similar final version now at the Birmingham Museum and Art Gallery.
Paolo and Francesca da Rimini is a watercolour by British artist and poet Dante Gabriel Rossetti, painted in 1855 and now in Tate Britain.
Mnemosyne, also titled Lamp of Memory and Ricordanza, is an oil painting by Dante Gabriel Rossetti begun in 1875 or early 1876 and completed in 1881. Jane Morris was the model, and Frederick Richards Leyland bought the painting in 1881 and displayed it in his drawing room with five other Rossetti "stunners." At about the same time Rossetti, a founder of the Pre-Raphaelite Brotherhood, was painting Astarte Syriaca, a larger painting completed in 1877 with Morris in a very similar pose.
Veronica Veronese is an oil painting by Dante Gabriel Rossetti painted in 1872 with Alexa Wilding as the model. The painting was conceived as a companion to Lady Lilith. Rossetti sold the painting to one of his best clients, shipping magnate Frederick Richards Leyland. In 1923 it was acquired by the estate of Samuel Bancroft which donated it in 1935 to the Delaware Art Museum.
Monna Rosa is the title of two oil paintings by Dante Gabriel Rossetti, both portraits of Frances Leyland, the wife of shipping magnate Frederick Richards Leyland, a regular patron of Rossetti. The earlier and smaller painting was completed in 1862 and its whereabouts is now unknown. The second was completed in 1867 and is now in a private collection.
Water Willow is an 1871 oil painting by Dante Gabriel Rossetti. It depicts Jane Morris in the river landscape near Kelmscott Manor, with the manor in the left background and Kelmscott Church below the hill to the right.
La Damoiselle élue, L. 62, is a cantata for soprano soloist, 2-part children's choir, 2-part female (contralto) choir, and orchestra, composed by Claude Debussy in 1887–1888 based on a text by Dante Gabriel Rossetti. It premiered in Paris in 1893.
Ligeia Siren is a chalk drawing by Dante Gabriel Rossetti (DGR) that was completed in 1873. The painting depicts a siren, a creature from classic Greek mythology, that also appear in tales such as Homer's Odyssey or Virgil's Georgics. The drawing is predominantly inspired from Rossetti's own 1869 libretto The Doom of the Sirens with which Ligeia is one of the female leads. Instead of depicting the traditional encounter of the siren with her victims entranced by her beauty and powers of music, doomed to a terrible fate, as in The Siren (1900) by John William Waterhouse or Ulysses and the Sirens (1909) by Herbert James Draper. Rossetti depicts a timeless moment, where contrary to his depiction of her in his libretto, she appears tranquil and relatively innocuous to her intended victims in the background.
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