4346. EBB to Arabella Moulton-Barrett
As published in The Brownings’ Correspondence, 26, 70–75.
43. Bocca di Leone
[1–2] Febr– [sic, for March] [1859] [1]
My beloved Arabel, it was delightful to get your letter though you dont tell me everything I want to hear and especially about your darling self. How is that face, my own Arabel? have you suffered less or more, do you think, for going to Wales?– Then I hear with pain about dearest Storm’s determination to return to Jamaica. Oh, I had hoped it would have been otherwise. I have been anxious to send him something photographical about me & Peni too, but though the weather is brilliant I am forced to have reserves & precautions in respect to going out where I could use the sun, and almost I fear to be too late for him even while I write. Is he gone, I wonder? Your letter suggests it. [2] Now I want you to write to me again, & catch up the things you have let drop & tell me quantities of scandal about all our beloveds, .. scandal, or gossip rather. Tell me if Altham, for instance, seems—to you larger & stronger than Pen—you can judge having seen the two so lately. Pen looks to me always much younger than his actual age. He is quite rosy just now, & round in the cheeks,—none the worse for Rome so far: only the trying time at Rome is later in the spring. Great is his joy & glory at this carnival time. [3] The Eckleys have hired a balcony on the Corso for the week at ten pounds English—& Pen has the use of it, & of their carriage too everyday– Robert, of course, goes & comes as he pleases. No? have’nt I really spoken of Sophie Eckley? it’s ungrateful then. She has borne herself to me just as you would have done, Arabel, .. coming to me everyday––which, by the way, would have been a horrible bore if she were not so sympathetical to me, & so delicate & refined that there never is a jar for a moment. Her fault with everybody else in the world cant be an unpardonable fault with me—namely, that she over-rates & over-loves me to a most extravagant degree. My fault with her is simply that I dont keep my hands & pockets open to be filled with gifts. Really it is quite painful to me: I am forced to watch my words– “Do you like those mosaic buttons for jackets?” “No,” I say, “not at all. They seem to me ugly.” This to guard against having a set of buttons deposited on my table the next morning. Even as it is, Peni has had them;—such pretty ones—the pretext being that Annunziata brought in, while Sophie happened to be in the room, his new velvet blouse <…> [4] I have been extravagant
<…>
must not repeat them—because <…> about being talked of &
<…>
church-going life.
Arabel, we have had a wedding here, & Robert has “given away” the bride, who is no other than Miss Fox. She came out here this winter for purposes of art & chose to begin my portrait, as I think I told you,—& fell in with Mr Bridell a landscape-painter of much talent who brought letters to us in Florence & whom we have seen a little since. A week ago the two arrived in company to pay me a morning-visit– Said Bridell, “Miss Fox has something to say to you, Mrs Browning– Had I better go out of the room” .. (to Miss Fox.) I exclaimed, .. “You frighten me—what is it?” Before I had settled into a decided tremble, came the information from the male visitor .. “The fact is, we are thinking of being tied, & it would be a great gratification to both of us if you would consent to be witnesses.” — Such a surprise! So Robert went as witness, & I should have done the same if a cold wind had not forbidden it– To make up for which omission bride & bridegroom & bride’s cousin [5] were invited to dinner the same day with us. Do you think they came? Yes, most willingly. We dined at six, had champagne & everything in order, & our visitors remained till half past ten– Seldom in the course of my life have I been so tired to death– And they ..... you would think the bride had done nothing else but be married everyday. An extraordinary serenity of mind & spirits for the occasion, certainly. Immediately after the ceremony they went to the Corso (where the carnival is carried on) then to dinner at six. This was on saturday: on monday they were at their respective studios as usual. Mr Fox had written from England to entreat Robert to take his place at the ceremony—and so, went. Then she is an energetic little creature, to whom I wish well—and really have proved my goodwill by submitting to be “sacrificata” [6] in sitting for my portrait .. which from the beginning has been getting on from bad to worse—began by being young & coarse like a milkmaid .. & will end by being old & coarse like a cook– People laugh & wonder at my sublime serenity in bearing it. Yesterday I was made to sit more than two hours again, and today shall have to do it besides, in order to the perfecting of this hideous counterpart which must be packed up tomorrow for the London Exhibition.!! [7] Ferdinando keeps saying “Ma diviene ogni giorno piu brutto, questo ritratto.<”> [8] And Penini is in high indignation– It is however all made up to me in the Talfourd portrait—for which Miss Heaton gave the commission. She has made herself so unpopular by her … let me whisper to you, Arabel .. by her singular want of refinement & delicacy—& resolution to “have the only portrait in the world of Mrs Browning” .. dear Sophie Eckley being really wounded by the slight done to herself and her Gordigiani in Florence, so that there was the sort of unavowed public wish for a failure– Sophie said to me, “Oh I feel so ungenerous– I feel as if I could not desire that portrait to be a success.”– Well, it is a success—& Sophie was the first to say .. “How like, how beautiful”— (She is truthful, & none but a truthful person could have resisted certain provocations .. too many to tell you of. She went up to Miss Heaton, took her hand & congratulated her on her picture–) Certainly it is a most exquisite work—rather a transfiguration than a literal likeness, .. but like, though what ought to be called flattered, I am well aware. Still people who have seen me only once, exclaim how like it is, .. and the general opinion is perfectly in its favour. There is a certain sadness, but it is quiet .. not despairing like your photograph, [9] and a look of the spirit’s face in it which only a man of genius could give in a chalk drawing. It is only a chalk drawing, observe. This also goes to London on friday, and heaven & earth are being moved in order to get the prince of Wales to go & see it on thursday … for the sake of the artist– [10] I hear that though he is famous for his happiness in likenesses, this is considered his best work. Most poetical it is, certainly. Now Arabel, mind you find it out in the Exhibition [11] .. & then you may see Mrs Bridell’s too, & observe how different eyes view differently the same object. Poor Mrs Bridell, to do her justice, went to see Talfourd’s work & admitted that it was very successful. Photographs are being taken of it, [12] & Robert & I shall send you one, .. & one for Henrietta, and one for Storm. [13] But they wont be ready for a week at least, nor can be sent till the first of April. Mr Talfourd has asked to be allowed to do Robert—& we accede of course– [14] He is so poetical in his conceptions that he will succeed I am certain in a high sense– Think of Peni suddenly addressing himself out of the depths of an armchair to the artist, .. “Mr Talfourd, I think that your picture of mama is much more pretty than Mrs Bridell’s.” “I am delighted to have your good opinion,” answered the artist.
Oh Arabel, .. how I go on writing of “this picture & of that” [15] … as if I thought chiefly of such poor things just now. The anguish of anxiety with which my heart hangs on public news, it is impossible to describe to you. It is a great comfort to have dearest Storm with us, tell him—for the selfishness & most ignoble narrowness in England sickens me just now: I breathe hard in it all. What with the Ionian islands, [16] the Principalities [17] & Italy, we are playing the most pitiful part in Europe just now that could be imagined for us by an enemy. With regard to Napoleon, you take your politics from the Times .. & the Times takes its politics from the place where it takes its morals … which is the lowest place. The Italian patriots (those who loved England best) can scarcely believe it of her.
I can, unfortunately: we have always been selfish & cruel in our foreign policy,—always. Napoleon is doing the thing which all those who have believed in him (as I have done) knew he would do by the first opportunity. His honor & consistency were both deeply engaged to do it. There is a grandeur in that man’s head & heart which dwarfs the fancy kings & politicians of his day– His pamphlet is splendid [18] —just like all his other public papers– Do you think Cavour, that man of heroic virtue & admirable ability, has not rightly judged Napoleon. But no—I cannot really write of it—— Let me fly off to an extreme & speak of the prince of Wales. I said nothing to Alfred except that Mrs Bruce the wife of the prince’s governor, [19] brought a letter to me & left her card. This, Robert returned of course—I not being able to go out– Then prince & suite [20] & governor arrived & we heard no more for a fortnight & thought it probable we should hear never, Mrs Bruce being so necessarily engaged with the royalty– One morning however (since I wrote to Alfred) [21] she & her husband appeared in our room—Robert not at home– We talked of everything but the prince, I avoiding the subject carefully—but Colonel Bruce pulled him in, and I laughed a little at the prodigious loyalty of the English climate which had followed him to Rome .. (for he arrived here in a regular “mizzle” & under a literal cloud!) After which to my very unaffected surprise “the governor” began a long speech, expressive of the difficulties & delicacies of his position &c &c, how the prince was to avoid all public receptions & mixed society, & was here simply to study .. art and the ruins– It was difficult to draw the line, & he, colonel Bruce, had to proceed with great deliberation, but it being desired for the prince that he should know the most eminent men in Rome, he knew it wd gratify the queen that he should make the acquaintance of Mr Browning. I bowed and said that of course my husband wd know how to appreciate the honor extended to him—& then changed the subject quickly. It surprised me much—& we have been careful to mention it to nobody so far– Only you are nobody.
We have heard nothing since—but “deliberation” was said “to be necessary.” For my part I would far rather know Azeglio, [22] who is also here– As to Pen, I mean him for something better than a prince’s aid-de-camp. I beg you to understand. His music is better & better: it’s a real faculty. He has also read thro’ two German books since he came to Rome,—& he writes dictation both in English & Italian well. Just now he & everybody are mad with carnival.
Annunziata is quite happy, & well too– Dr Pantaleone cured her– So all was for the best– But I fear Lisa [23] is offended with me—not answering my last letter– Pen looks from his music & says to Robert “You are my brain-shine, & I am your heart-shine.” Is’nt that dear?–
God bless & keep you beloved! Love to dear Minny.
Your very own
Ba
Never pay postage.
Address: Angleterre– / Miss Moulton Barrett / 7. Delamere Terrace / Harrow Road / London.
Publication: EBB-AB, II, 393–397.
Manuscript: Berg Collection.
1. Year provided by postmark. Beginning date based on EBB’s reference to sitting for Eliza Fox “yesterday”; that is, probably, 28 February (see letter 4339). Ending date suggested by Sophia Hawthorne’s diary entry of 2 March, in which she mentions calling on the Brownings: “But Mrs Browning was sitting to an artist and we could not get in” (SD2243). Presumably, the artist was Eliza Fox.
2. Storm left England for Jamaica on 13 February aboard the David Lyon (see Surtees, 13 February 1859).
3. According to Murray’s A Handbook of Rome and Its Environs (1858), “The Carnival commences, properly speaking, after New Year’s Day, and continues until the beginning of Lent; although the gaieties in the Corso and the masking … take place only during the last 10 days” (p. xxv). In 1859 the first day of Lent was 9 March.
4. An excision of two pages, except for a small fragment, occurs at this point, affecting text here and below.
5. George Edward Fox (1833–1908), son of W.J. Fox’s brother, George Washington Fox (1802–1883) and his wife, Mary Brady (née Ling, b. 1804). On 8 August 1871 he became Eliza Fox’s second husband.
6. “Sacrificed.”
8. “But this portrait becomes uglier day by day.”
9. Presumably the photograph described in letter 4241.
10. In his diary for 3 March 1859, Albert Edward, the Prince of Wales recorded: “At 10 o’clock in the morning I went to see the studio of Mr. Talfourd, with Col. & Mrs. Bruce, Admiral Erskine, Capt. Grey, & Mr. Tarver. His portraits in crayon are very beautifully done, and to judge by one of Mr. Gibson, are very faithful; that, & another of Mrs. Browning, the poet, are to be sent to this year’s Exhibition” (ms at The Royal Library and Royal Archives, Windsor Castle). Erskine had encouraged the Prince to see the Talfourd portrait (see the penultimate paragraph in letter 4366).
11. Field Talfourd’s portrait of EBB was not accepted for the Royal Academy exhibition of 1859, though two other works were: “John Gibson, Esq., R.A.” (see letter 4332, note 6) and “A Roman peasant” (see The Royal Academy of Arts: A Complete Dictionary of Contributors and their work, comp. Algernon Graves, 8 vols., 1905–06, 7, 318). In letter 4410 EBB writes that her portrait was rejected “because of Mr. Talfourd’s having sent too many.”
12. The photographer was James Anderson (né Isaac Atkinson). Born in Blencarn, Cumberland, he had studied sculpture in Paris before settling at Rome in 1838. He turned to photography in 1849, opening his own studio four years later. Anderson is described in A Handbook of Rome as “the most extensive producer of photographs in Rome, and his productions are said to stand the light well” (p. xix). His photographs could “only be procured at Spithover’s library,” at 85 Piazza di Spagna, which also acted as his agent (p. xix).
13. This photograph by Anderson is inscribed by EBB to Charles John: “With Ba’s love to dearest Storm. Rome. 1859.” It is now at Eton.
14. This portrait in colored chalk was completed the following month. Talfourd recorded that in 1859 he “drew Portrait of Mrs E.B. Browning for Miss Heaton & Mr R. Browning for self” (“Notebook Two 1850–1867,” transcript at BRO). RB’s portrait remained with the artist until his death in 1874 and the subsequent dispersal of his studio, after which it disappeared. In April 1885 it was discovered in a Hammersmith shop by Edmund Gosse, who bought it and showed it to RB, who inscribed upon it the following memorandum: “This portrait was executed at Rome, in 1859, as a companion to that of EB.B. now in the National Portrait Gallery, by Field Talfourd,—whose property it remained. I rejoice that it now belongs to my friend Gosse. Robert Browning, Apr. 10. ’85” (see The Magazine of Art, 24 (1900), 563). Gosse sold the portrait to the National Portrait Gallery in 1900. It is reproduced facing p. 208.
15. Cf. Hamlet, III, 4, 53.
16. The Ionian Islands, seven Greek islands in the Ionian Sea that included Corfu and Ithaca, had become a British protectorate at the 1815 Treaty of Paris. That treaty also granted Austria “the right of equal commercial advantage with the protecting country” (EB). Following the revolutions of 1848, the Ionian parliament passed a resolution for union with Greece, a union that both England and Austria opposed. In early 1859, Gladstone, acting as lord high commissioner, proposed reforms in lieu of unification; these were rejected by the islands’ parliament. The British government ceded the islands to Greece in 1864.
20. The members of the Prince’s entourage, apart from the governor, were: Rev. Charles Féral Tarver (1818–86), the Prince’s Latin tutor and chaplain; Dr. Thomas King Chambers (1817–89), of St. Mary’s Hospital, London, the Prince’s personal physician; and Capt. George Henry Grey (1835–74), Equerry to the Prince.
22. Massimo Taparelli d’Azeglio (1798–1866); see letter 3227, note 7.
23. i.e., Wilson.
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