THE BEAUTY OF ELIZABETH SIDDAL
ELIZABETH SIDDAL, BY ROSSETTI
The artist’s brother writes of her that she was truly a beautiful girl,—tall, with a stately throat and fine carriage, pink and white complexion, and massive, straight, coppery golden hair. Her heavy-lidded eyes were large and greenish blue. But, as this narrator says, it is not necessary to speak much about her appearance, “as the designs of Dante Rossetti speak for it better than I could do.” Her whole manner, in spite of her great beauty, was reserved, self-controlling, and “alien from approach.” Rossetti’s brother says that her talk was, in his experience, scanty; slight and scattered, with some amusing turns, and little to seize hold upon; little clue to her real self, or anything determinate.
But, alas! the beautiful Elizabeth was a sufferer from consumption, accompanied by neuralgia. For the neuralgia frequent doses of laudanum had been prescribed. Her condition was such toward the end that sometimes she was obliged to take one hundred drops at a time. On February 10, 1866, she dined at a hotel in London with her husband and Swinburne. She and Rossetti returned to their home about eight o’clock. She was about to go to bed at nine, when Dante Gabriel went out again. When he came back at half-past eleven the room was in darkness. He called to his wife; but received no reply. He found her in bed, unconscious. On the table was a vial. It had contained laudanum—it was empty.
He paid her the tribute of burying his poems with her. He had already paid her the great tribute of painting her, and that often. Those large, greenish blue eyes of hers were his guiding stars. Let him who will say that he rides fastest who rides alone. There are six great artists—and many more—to say him nay.
BEATA BEATRIX, BY ROSSETTI
A portrait of Elizabeth Siddal.
SUPPLEMENTARY READING
| Fra Filippo Lippi | Edward C. Strutt |
| Rembrandt and His Work (8 vols.) | Wilhelm Bode |
| Rembrandt | R. Muther |
| The Rossettis | Elisabeth Luther Cary |
| L’Oeuvre de P. P. Rubens | Maximilian Rooses |
| Rubens (Masterpieces in Color Series) | S. L. Bensusan |
| Andrea del Sarto | H. Guinness |
| Sir Anthony Van Dyck | Lionel Cust |
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LUCREZIA FEDI, By Andrea del Sarto
THE WIFE IN ART
Andrea del Sarto and Lucrezia Fedi
ONE
“The Faultless Painter,” though his paintings seem faultless, led a life that was by no means free from mistakes. All went well with him up to the age of twenty. He was born near Florence in 1486, and when but a seven-year-old goldsmith’s apprentice began to show such skill that he was soon afterward sent to Piero de Cosimo, one of the best artists in Florence. He was only twenty years old when he painted the seven frescos in the Annunziata from the life of Saint Philip.
Andrea was the son of Angelo the tailor. His name, Andrea del Sarto, means “the tailor’s Andrew,” and was not his real name at all, which was Andrea d’Angelo di Francesco. Sometimes he called himself Andrea del Sarto, sometimes Andrea d’Angelo, and again Andrea d’Angelo del Sarto. Andrea made his first great mistake by marrying the widow of a hatmaker. Lucrezia Fedi’s cold face was indeed the glory of his pictures, where she is nearly always to be seen in the robes of virgin, saint, or angel. As his model she was all that could be desired; yet when he married her the “faultless painter” lost many of his best friends and pupils, and worst of all the ideals of art. Blinded by her beauty, he could not see the failings that were plain to everyone else. All his life Andrea worked hard to support her and her sisters in their extravagances. Yet he went on painting faultlessly.
His fame spread so far that King Francis I invited him to France, and gave him important commissions there. But Lucrezia persuaded him to return to Italy. He was granted a month in which to return and bring his wife to France. Francis also intrusted him with money to buy Italian works of art for the royal palace.
A month passed. Andrea did not return; but purchased a plot of ground in Florence with the king’s money, and on it built a house for Lucrezia. King Francis never received his paintings, and the “faultless painter” had thrown away a chance of achieving supreme greatness.
In 1531 Andrea del Sarto died of the plague. As he lay on his deathbed Lucrezia fled from the house for fear of infection. Yet he left her all his property, and, so far as known, never ceased to believe in her.
Lucrezia lived forty years after the death of her husband. A former pupil of Andrea’s was at work one day copying frescos, when a withered old woman came into the hall. She asked him who had painted the fresco.
He replied, “Andrea del Sarto.”
“I was the original of that angel,” she said. “I was Lucrezia Fedi, the wife of Andrea del Sarto.”
Even to the last she was proud of the husband whom she had deserted on his deathbed, and whose genius she alone had dwarfed.
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ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28
THE VIRGIN ADORING THE CHILD. By Fra Filippo Lippi
PAINTED FROM LUCREZIA BUTI
THE WIFE IN ART
Fra Lippo Lippi and Lucrezia Buti
TWO
The painter of divine beauties, Filippo Lippi, or as he is often called, Fra Lippo Lippi, was not himself a handsome man. He had rather a full face, large features, and thick lips. Laziness and love were always interfering with his work. As a result of extravagance he was usually in debt, and not always careful to get out honestly. Yet the people of his time were kind-hearted enough to overlook boyish faults in an artist who brought so much renown to their country.
Filippo was born into a Florentine butcher’s family about 1402, and his father died soon afterward. He seems to have had little care from his mother, who may, however, have died during his infancy. An aunt took care of him; but, finding the boy too great a burden for her slender means, turned him over to be educated by the Carmelite friars. The abbot was lenient; for he had the wisdom to see that a boy who drew pictures all over the walls and on his books when he should have been studying would probably become an artist. Artists were highly thought of in those days, when the church taught by means of pictures. Filippo, therefore, never learned to write good Latin. He studied the frescos of the chapel instead. Later, when he had finished his studies and gained a name for himself among painters, the abbot granted him permission to leave the monastery in order to give his genius full scope. Monks who had learned to paint were often allowed this privilege.
So Fra Filippo became a great painter. When he went to Prato and saw Lucrezia Buti he was already nearly fifty years old, while she was hardly more than twenty. She also was an orphan. Her father, who had been a silk merchant in Florence, left his daughters in the care of Antonio Buti: evidently a harsh guardian, for he put Lucrezia and Spinetta, both beautiful girls, into the convent of Santa Margherita against their will, in order to save himself some expense. Filippo saw her, used her as a model, and later married her by permission of the Pope. The virgins and saints of his paintings had a new spiritual radiance after he saw Lucrezia’s face. He used her for all manner of subjects, from the Virgin to the “Dancing Daughter of Herodias,” changing her features to suit as many different characters.
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ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28
HELENA FOURMENT. By Rubens
THE WIFE IN ART
Peter Paul Rubens and Helena Fourment
THREE
The extraordinary beauty of Helena Fourment won for her the love of a world famous painter when she was only sixteen years old. Peter Paul Rubens married this girl, and immortalized her charms on many a precious canvas. It was a most fortunate match. Helena was not only beautiful; she had also every attraction of nature and education, and belonged to a wealthy family. Rubens was a widower, and one of the most celebrated painters in Europe. More than that, he was a distinguished and successful statesman.
Fortunate throughout his life, brilliant, handsome, and of good family, Rubens was never in doubt of his future. His talent for painting showed itself in boyhood. At the age of twenty-three he went to Italy, where he soon attracted the notice of the Duke of Mantua. Partly as art expert, partly as diplomat, he went in the Duke’s service to all the important cities of Italy. He spent eight years in that country, sometimes painting for his patron, but more often travelling on political missions.
Recalled to Antwerp by the serious illness of his mother in 1608, Rubens arrived too late to see her again alive, and, no doubt feeling the strength of home ties, resigned from the service of the Duke immediately. High positions and great honors awaited him in his native city. His fame grew year by year.
Isabella Brandt became his wife in 1608. She is described as a rather heavy Flemish woman, and her face and figure appear frequently in Rubens’ work of that period. After her death and before his second marriage he was called upon to arrange terms of peace between England and Spain. It was the most important event of his life. In Spain he met Velasquez and earned the friendship of King Philip. He was honored in England by Charles I, who presented him with a string of valuable diamonds in appreciation of his services. The painter also strengthened a friendship already established with the Duke of Buckingham.
After the successes abroad Rubens retired to a home in the country, devoting himself more than ever to the work of painting. An alchemist went to him one day, claiming to have discovered the philosopher’s stone, which turned everything it touched into gold.
“But,” objected Rubens, “I have discovered it myself.”
“The philosopher’s stone?” exclaimed his visitor.
“Yes, and you shall see it,” answered the painter.
Leading the astonished guest into his studio, Rubens showed his palette.
Helena Fourment was still young when Rubens died. She did not remain long in widowhood; but married the Count of Bergeyck, with whom, so far as is known, she lived in peace and happiness.
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ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28
SASKIA VAN ULENBURG. By Rembrandt
THE WIFE IN ART
Rembrandt and Saskia Van Ulenburg
FOUR
Rembrandt Van Rijn and Saskia Van Ulenburg were married in 1634. Saskia, the daughter of a rather wealthy burgomaster who had died some years before, had been living with one after another of her sisters; for they, were all married except herself. Once when she was in Amsterdam a relative, who was posing for a portrait, took her to Rembrandt’s studio, where she met the sullen Hollander and saw him at his work. He must have been an odd figure in those days, awkward and shy, doing everything in his own queer way. Saskia returned again and again, making a deep impression on the artist. She posed for him several times. Once she was a queen, another time she was a flower girl. Rembrandt centered his whole thought and energy upon her, and as he had just passed the first breathing spell of success they were soon able to marry.
Saskia thought only of her husband’s happiness. He in turn was so deeply in love with her that he spent most of his leisure hours painting her portrait and much of his money buying jewels and gold ornaments and rich dresses of every description to adorn her.
Up to the time of his marriage Rembrandt had been stubborn and morose, not caring for society nor for ordinary pleasures. He was born on the outskirts of Leyden in 1607. His father, a miller, was hardly able to give the boy that education which is usually needed to become skilful in art. However, Rembrandt did study under Van Swanenburch, who taught him to draw, paint, and make etchings. He set up a studio in the mill, where he painted portrait after portrait of his mother, his sister, and himself. The artist liked better than anything to paint a well known face over and over again, by new lights and with new expressions.
After his first success, “Lesson in Anatomy,” Rembrandt moved his studio to an old warehouse in Amsterdam. His work became popular. The people of Holland fairly begged for sittings, and soon he was foremost among painters. Yet he paid little attention to anyone but Saskia; and his stubbornness offended patrons and made enemies of those who should have been his friends.
For nine years Rembrandt lived in happiness. Then came misfortune. Extravagance carried him into debt. His children died, and soon after his beloved Saskia followed them. His enemies barred his pictures from exhibitions. At last all his property was sold to satisfy creditors. His paintings went out of fashion. Their owners even used the frames again by covering up Rembrandt’s canvases, of incalculable value, with the work of some other artist whose pictures were in vogue at the time.
A law in Holland now forbids the removal of a “Rembrandt” from that country. His countrymen feel that no honor is too high to bestow on the memory of that unfortunate artist who in 1669 died unrecognized and was buried by charity.
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ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28
MARIA RUTHVEN. By Van Dyck
THE WIFE IN ART
Anthony Van Dyck and Maria Ruthven
FIVE
Anthony Van Dyck’s marriage might be called one of convenience. He married Maria Ruthven because King Charles I, of England, wishing him to settle down, decided on a wife for him. The courtly painter was a spendthrift. He loved company and entertainment, was handsome, refined, well dressed, and, all things considered, a thorough gentleman. He attracted to his society the greatest of English nobility. Gossip had him in love with so many of the court ladies that the king, fearing his portrait painter would get into serious difficulties, determined once for all to save him by a marriage with a Scottish beauty in the queen’s retinue.
Van Dyck offered no objection. The lady, Maria Ruthven, was young and very beautiful. Although she brought no dowry except that given by royal generosity, she was considered a very good match for the artist, who came of burgher stock. Maria’s family was related to the Stuarts; but had been for a long time in disgrace. Van Dyck’s only claim to distinction was his art.
His father, a well-to-do merchant in Antwerp, where Van Dyck was born in 1599, gave Anthony every opportunity to follow up the art of painting. The boy was for several years a pupil of Rubens, whom he made a little jealous by his success in portrait painting. Some of his pictures were better than Rubens’. A few years in Italy gave Van Dyck a still higher position among artists. Some said he was the best portrait painter in Europe.
Yet in spite of his skill Van Dyck was disliked by most painters. They lounged around the taverns in ragged clothes, put on boorish manners, and made fun of any kind of refinement. To this behavior he was entirely opposed. They called him the “Cavalier Painter” because he saw only the noble side of life, and ignored what was low or common. One could hardly have been found who was better fitted by nature to live and paint among the light-hearted courtiers of Charles I. He welcomed an offer from England, and left Antwerp to make his home thereafter on foreign soil.
When he married Maria Ruthven, Van Dyck was forty years old. He painted some portraits of her; but not many, for his death was near at hand. A journey to Paris, in the hope of receiving important commissions there, failed in its object, and brought on a severe attack of the disease from which he had been suffering for years.
The painter returned to England. King Charles offered his physician three hundred pounds if he could save Van Dyck’s life; but to no purpose. He died the second year after his marriage, one of the greatest portrait painters that ever lived. To his wife he left a considerable fortune, which he had managed to save in spite of an extravagant life. Maria afterward married Sir Richard Pryse, a Welsh baronet.
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ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28
THE BLESSED DAMOSEL. By Rossetti
PAINTED FROM ELIZABETH SIDDAL
THE WIFE IN ART
Rossetti and Elizabeth Siddal
SIX
One day when Rossetti was painting in his studio, Deverell, a fellow artist, rushed in and exclaimed that he had found the ideal woman. She was working in a milliner’s shop, he said; but she was a wonderful girl of stately dignity, with blue-green eyes and coppery tinted hair. This girl was Elizabeth Siddal, and from that time on she was the model for Rossetti’s mystical dreams in color. She later became his wife.
Dante Gabriel Rossetti was born in England in 1828, the son of an Italian refugee. His parents lived simply, almost in poverty, but with refinement suited to the fostering of art and poetry in their children. The mother believed that one good picture on a plain wall was more beautiful than many worthless decorations. Rossetti used this simplicity in his paintings. He and a number of other artists formed the Preraphaelite Brotherhood. This was an organization that took a love of simplicity as its motto, and believed in using simplicity in everything.
Besides being an artist of great genius, Rossetti was a poet. He and his sister Christina were the leaders in the Preraphaelite movement in poetry. Before he was nineteen he wrote “The Blessed Damozel,” a poem that expressed his ideal in womanhood. Elizabeth Siddal proved to be his ideal woman. Ruskin spoke of her as a “noble, glorious creature.” Later the artist painted a picture to go with the poem, and his model was Elizabeth Siddal.
When Rossetti first asked her to pose for him the ideal beauty thought that he wanted her for fashion plates. She little thought that she was to be made the object of a great artist’s lifework.
Her death plunged Rossetti into lifelong misery, almost insanity. Up to the moment of his own death in 1882 he never ceased to grieve for her.
“Her eyes were deeper than the depth
Of waters stilled at even.”
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ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28