5830. RB to Isa Blagden
As published in The Brownings’ Correspondence, 32, 142–144.
[London]
Nov: 26. ’66, for the 19th!
My dearest Isa, I was compelled to go the first thing last Monday to a horrid place called Clerkenwell, there to make part of a Grand Jury. Next day, the same: next day was the last of Milsand’s stay with us—he completed the four weeks: I had no minute to spare from him. Next day,—in fine, I said in despair, “I will wait the full week out, & then explain to Isa, begging her pardon if I have done wrong:”— The calls on my time are incessant just now—and even since writing the above scrap five or six hours have intervened,—but I will not rest till something in the shape of a word in answer to yours be despatched. Besides, who knows but you may be on your way to Rome, as you seem to determine shall be the case?—and rightly—few things would delight me more. Yes, it would have been good to see the reception at Venice, [1] —but I am somewhat restive and averse to all prepared festivities: the unforseen is the dramatically excellent. The best incident is said to have been that when, at the substitution of the new for the old flag, all the people were absolutely dumb thro’ emotion,—waited a minute before they remembered to cheer, or could do so.
I am glad you have a house so much to your mind: [2] I shall only think of you as still at the old places, however—I can’t do otherwise: God bless you wherever you are.
The “Solomon” you mention is, I fancy, the painter of the best picture in the Exhibition where I saw it—that “Habet,” which was fine indeed. [3] I should like to know him. There is a portrait of my poor self [4] whereof the newspapers speak well,—I admire it, but know nothing about the likeness: I have just sate to Lawrence for another [5] —and have to repeat the process—which is tiresome in these quick photographing days—but he is a charming person,—as indeed is Watts. How I can fancy the long letters you speak of, with all the talk hung on to a peg! Well, I was right in my instincts about it all.
I am now in the last throes—so far as this stage of his career—with Pen and his preparation: if all goes well, he will go to Oxford next Michaelmas—and then what will become of me? “Books, and work and healthful play,” [6] —shall I manage, I wonder? Oh, I dare say!
Milsand’s visit was wholly delightful—he had good weather for the time of year—which he chose so as to take me at the unoccupied season: we went together to M. Arnold’s, Ruskin’s, [7] and another place or two. He will come again, we hope. If you go to Rome, don’t forget me, pray. I am going to dine presently with Lady W. R. [8] who will tell me all the news. Geo. Barrett will be there,—but you don’t care about him. Good bye, ever dearest! Forgive this shabby letter,—but the best and longest is not worth the three or four words we had, last July. May they happen again, or their like!
Ever affy yours, RB.
Publication: DI, pp. 250–252.
Manuscript: Armstrong Browning Library.
1. RB refers to the reception of King Victor Emmanuel II in Venice on 7 November 1866, the culminating celebration of Venetia’s joining the Kingdom of Italy (see letter 5795, note 10). The Times of 8 November carried an account of the event via telegram: “The King of Italy arrived here at 11 this morning. His reception was most magnificent, and indescribable enthusiasm prevails. … The crowd in the Piazza San Marco was so great that the troops were unable to defile before the King” (p. 7).
2. Villa Isetta.
3. “Habet!” by Simeon Solomon (1840–1905) was displayed in the West Room at the Royal Academy exhibition of 1865. “It depicts the contrasting expressions of a group of women watching a gladiatorial contest” (ODNB).
4. By G.F. Watts (see letter 5753, note 1). It was shown alongside a portrait of Alfred Tennyson at the French Gallery exhibition of British artists, which opened in early November. A review of the exhibition in The Era contained the following: “G.F. Watts has a profile and a full face portrait. The former is of Robert Browning, and a striking resemblance. Its companion is Alfred Tennyson, and is painted in a firm, solid manner, worthy of the artist” (11 November 1866, p. 6). The Athenæum of 10 November noted that the “portraits of Messrs. Robert Browning (222) and Alfred Tennyson (223) are in noble companionship, and are noble works. The former delights us as one of the painter’s most nearly perfect pictures” (no. 2037, p. 613). The French Gallery, at 120 Pall Mall, was founded in 1854 by Ernest Gambart (1814–1902), Belgian-born printseller and art dealer.
6. Cf. Issac Watts, “Against Idleness and Mischief” (1814), line 13.
7. To Ruskin’s on 19 November (see SD2849) and Arnold’s on 8 November (see SD2844).
8. Lady William Russell.
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