The Autobiography of a Journalist, Volume II

by William James Stillman

ROSSETTI AND HIS FRIENDS

Of a life so desultory, fragmentary rather, it is useless to keep the chronology. At no period of it have I been able to direct it with primary reference to pecuniary considerations, nor have I ever succeeded in anything I undertook with primary reference to pecuniary return. My impulses, erratic or otherwise, have always been too strong for a coherent and well subordinated career, and the aimlessness of my early life, favored by the indulgence of my brother and the fondness of my mother, might well account for a life without a practical aim or gain. It is too near its end for regrets or reparation—so that if it ends well it will be well, but it is hardly fitted for systematic record.

During the two years between my leaving Crete and Athens and my second marriage I spent the larger part of my life in London, engaged in literary pursuits and in fugitive work. I prepared the history of the Cretan insurrection, but the dissolution of the publishing company which undertook it left the actual publication to Henry Holt & Co. in 1874. All interest in the subject having long lapsed, it was hardly noticed, and was as a publication a complete failure, but I sent copies of it to some English friends who were interested in Greek affairs, and amongst others to Professor Max Müller, who made an extended review of it for the "Times," which had on my subsequent career an important influence. During the time I spent in England I naturally saw a great deal of the Rossettis, especially of Dante, with whom I became intimate. He lived in Cheyne Walk, and I in Percy Street near by, so that there were few days of which a part was not spent with him. I had made in America, about 1856 or 1857, the acquaintance of Mme. Bodichon, an Englishwoman married to a French physician, who is equally well known by her maiden name, Barbara Leigh-Smith, a landscape painter of remarkable force, and one of the most delightful and remarkable Englishwomen I have ever been privileged to know. When I knew her in America, she had taken an interest in my painting, which she regarded as promising a successful career, and when I came to England, I renewed the acquaintance. As the spring came on, she offered me for a few weeks her house at Robertsbridge, a charming cottage in the midst of woodland, and with her consent I asked Rossetti to share it with me.

Rossetti was then in the beginning of the morbid attacks which some time later destroyed his health completely. He was sleepless, excitable, and possessed by the monomania of persecution. His family had tried to induce him to go away for a change, but the morbid condition made him unwilling to do so, and he never left his house until late in the evening, under the prepossession of being watched by enemies. I recommended him to try chloral, then a nearly new remedy which I had used by prescription with excellent effect for my own sleeplessness, and which I always carried with me. I gave him twenty grains dissolved in water to be taken at three doses, but, as he forgot it on the first two nights, he took the whole on the third, and complained to me the next day that it made him sleep stupidly for a few hours, and then made him so wakeful that he was worse than without it, so that he refused to make any further experiment with it, nor did he at that time, and as long as we remained in touch with each other, venture another trial of it. At a subsequent time, taking it on the prescription of a physician, he fell into the habit of using it to his great injury, from the want of self-control in the employment of it. At the time I am writing of, I succeeded in getting him away from London to stay for a long visit at Robertsbridge, where the quiet and long daily walks in the woodland, a simple life and freedom from all causes of excitement, rapidly brought him back to his natural condition, and he resumed work, doing some of his best drawings there, and completing his poems for publication. Indeed, several of the poems in his first volume were written there. Sleep returned, and health, with cessation of all the morbid symptoms, the result of overwork and night work, for he used at Cheyne Walk to begin painting in the afternoon, and, lighting a huge gasalier on a standard near his easel, keep at his drawing far into the night, sleeping late the next day. At Robertsbridge he returned to natural habits, having no gas and falling in with my hours perforce, as otherwise he had no company.

And Rossetti was one of the men most dependent on companionship I have ever known. When not at work he needed some one to talk with, and in our long walks he unfolded his life to me as he probably never did to any other man, for he had a frank egotism which made him see everything and everybody purely in their relation to him. And in these circumstances he and I were, after a manner, the only people in our world. As he himself said, "In this Sussex desert one tells all his secrets," and I doubt if even in his own family he ever threw off reserve so completely as with me in the solitude of Robertsbridge, where he was very happy and very well.

Rossetti's was one of the most fascinating characters I ever knew, open and expansive, and, when well, he had a vein of most delightful talk of the things which interested him, mostly those which pertained to art and poetry, the circle of his friends and his and their poetry and painting. To him, art was the dominant interest of existence, not only of his own, but of existence per se, and he tolerated nothing that sacrificed it to material or purely intellectual subjects. I remember his indignation at the death of Mrs. Wells, the wife of the Royal Academician, herself a talented painter, who died in childbed, "a great artist sacrificed to bringing more kids into the world, as if there were not other women just fit for that!" he exclaimed; and when Regnault was killed in the sortie from Paris, he burst out in an angry protest at this throwing away valuable lives like Regnault's in a stupid war. The artist was to him the ultima ratio of humanity, and he used to say frankly that artists had nothing to do with morality, and practically, but in a gentle and benevolent way, he made that the guiding principle of his conduct. Whatever was to his hand was made for his use, and when we went into the house at Robertsbridge he at once took the place of master of the house, as if he had invited me, rather than the converse, going through the rooms to select, and saying, "I will take this," of those which suited him best, and "You may have that" of those he had no fancy for.

He was the spoiled child of his genius and of the large world of his admirers; there was no vanity about him, and no exaggeration of his own abilities, but other people, even artists whom he appreciated, were of merely relative importance to him. He declined to put himself in comparison with any of his contemporaries, though he admitted his deficiencies as compared to the great Venetians, and repeatedly said that if he had been taught to paint in a great school he would have been a better painter, which was, no doubt, the truth; for, as he admitted, he had not yet learned the true method of painting. He refused to exhibit in the annual exhibitions, whether of the Academy or other, not because he feared the comparison with other modern painters, but because he was indifferent to it, though I have heard him say that he would be glad to exhibit his pictures with those of the old masters, as they would teach him something about his own. Like every other really great artist, he had a very just appreciation of the work of other men, and his criticisms were, me judice, very sound and broad from the point of view of art; the only painter of any note I ever heard him speak of with strong dislike was Brett, whom he could not tolerate. But he had a higher opinion of his own natural abilities than of his actual achievement,—his self-appreciation was not the conceit of a man who understood only what he himself did, but a full consciousness of what at his best he would be capable of doing and hoped to do before he died. In my opinion he understood himself and his merits justly, but he was to himself the centre of his own system; other stars might be as great, and probably there were many such, but they were remote, and judged in perspective.

He was undoubtedly the most gifted of his generation of artists, not only in England, where art is, if not exotic, at least sporadic, but in Europe, and I consider that if he had been of Titian's time he would have been one of the greatest of the Venetians. His imaginative force and intensity were extraordinary, and some of the elaborate compositions he drew in pen and ink, for future painting, are as remarkable in invention and dramatic feeling as anything I know in art, and all drawn without a model. The "Hector," the "Hamlet and Ophelia," the "Magdalene at the door of Simon the Pharisee," are designs of unsurpassed power, eminent in all the great qualities of design, harmony of line, invention, and dramatic intensity. His early work had all the purity and intensity of feeling of the primitive Italians, and the designs alluded to are of a little later period and of his highest imaginative activity. Had he always maintained the elevation of that period he would have done more and better work, but he fell into irregularities of life which wasted his powers and destroyed the precious exaltation of his early art. The sensuous quality of his painting, the harmony of color and the play of it, like the same qualities in his poetry, remained as long as I knew anything of his life, but his drawing and even his intellectual powers fell off through his unsystematic, excessive demands on them, night work and overwork. In his later years his work was nearly always more or less jaded, his eye failing in the perception of forms, as has so often been the case in even the greatest painters in their decay.

No doubt chloral was ultimately one of the agencies of his prostration, though not of his death, but he did not have recourse to it until his power of recuperation from overwork had begun to fail; and, when he had become accustomed to the effect of the chloral, he took it as the means of a form of intoxication, a form well understood by those who have had any experience, personal or by observation, in the use of the drug. The craving for this intoxicant, once it becomes a habit, is, like the use of morphia, invincible, and Rossetti indulged in it to such an extent that he used to take the original prescription to several druggists to obtain a quantity that one would not have given him. The crisis came long after my close personal relations with him had ceased, and I had become only an occasional correspondent, living in Italy. But to make his decline the consequence of the use of chloral, even when it was finally become habitual, as some do, is absurd. It had been prescribed for him by a competent physician, because some remedy for his malady had become necessary. Even before I had recommended his first experiment with it he had been incapacitated from work by sleeplessness, and was in a very precarious condition of nerves and brain, and, though he recovered at Robertsbridge a comparative health, so that he was enabled to do some of his best work, his return to London, and gradually to his old habits of life and work, ultimately reproduced the old symptoms.

During the earlier days of the return of the malady I was in London again and saw a great deal of him, was witness to his having become subject to illusions, and heard his declarations that he was beset by enemies and that he continually heard them in an adjoining room conspiring to attack him, and he attributed the savage criticism of Buchanan on his volume of poems to his being in the conspiracy to ruin him. The attack of Buchanan had a most disastrous effect on his mind. It was the first time that Rossetti had experienced the brutalities of criticism, and his sensitiveness was excessive. No reassurance had any effect; he had heard, he declared, the voices of those who had combined to ruin his reputation discussing the measures they were going to take, and it was evident that it had become a mania closely resembling insanity. Buchanan's criticism had a rancor and breath of personality in it which had no excuse; it was a savage, wanton attack on the poet which he felt not only as poet and artist but as personal; for, to Rossetti, the two were the silver and golden sides of the shield. Though the morbid state was there, I think that the article of Buchanan had more to do with the intensification of the mania of persecution than anything else that occurred. And at that time he had not yet contracted the habit of taking chloral.