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O lovely hand, that thy sweet self dost lave
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In that thy pure & proper element
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Whence erst the Lady of Love's high advent
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Was born, and endless fires sprang from the wave;—
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Even as to her Loves to her their offerings gave,
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For thee the jewelled gifts they bear, while and each
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The hands and lips, the lips and eyes, outreach
Added TextLooks to those lips, of music-measured speech
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Desire with more of bliss than man may crave.
Added TextThe fount, & of more bliss than man may crave;
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In royal wise, ring-girt & bracelet-spann'd,
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A flower of Venus' own virginity,
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Go shine among thy sisterly sweet band;
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In maiden-minded converse delicately
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Evermore white & soft; until thou be,
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O hand, hearted handsel'd in a lover's hand.
, . . , . .
La Bella Mano
Dante Gabriel Rossetti
1877 (circa)
Physical Description
Medium: black, brown and green chalks
Dimensions: 51 x 30 in.
Signature: monogram
Date on Image: 1877
Production Description
Production Date: 1877 (circa)
Patron: Valpy?
Provenance
Current Location: Victoria and Albert Museum
, .
. ().
Found
1854
Medium: oil
Dimensions: 36 x 31 1/2 in.
Production Description
Exhibition History: R.A., 1883 (no.287); R.A., 1973 (no.69); Yale 1976 (no.34)
Patron: Francis MacCracken
Date Commissioned: 1853
Patron: James Leathart
Date Commissioned: November 13, 1859
Patron: William Graham
Date Commissioned: 1869
Original Cost: £800
Note: MacCracken relinquished his commission of the painting. Leathart commissioned the work for 350 guineas, but DGR wrote, only a short while after the commission, that the patron “funks the calf picture for the usual reason” (Fredeman,Correspondence, 59.40.). By 1867 DGR was ready to repay Leathart his advancement because the painting had not moved forward. Graham, the last patron, finally received the painting in an unfinished state upon DGR's death.
Model: Fanny Cornforth
Note: Cornforth sat for the figure of the woman.
Model: WMR
Note: WMR sat for the figure of the farmer in the early stages.
Model: Ford Madox Brown
Note: Madox Brown also sat for the farmer.
Model: unknown
Note: The facial features of the farmer were drawn from a model whose identity is unknown.
Repainting: 1882
Fairfax Murray suggests that Burne-Jones and Dunn added finishing touches to the painting following DGR's death. Murray beleives that Burne-Jones added the wall (which DGR had intended as a picket fence) while Dunn washed in the sky. Marillierbelieves that Burne-Jones did the sky and that Dunn might have painted the bridge, the riverbank, and the cowslip in the farmer's hat.
1853 .
1853 -57 . .
FOUND.
(For a picture)
"There is a budding morrow in midnight": -
So sang our Keats, our English nightingale.
And here, as lamps across the bridge turn pale
In London's smokeless resurrection-light,
Dark breakes to dawn. But o'er the deadly blight
Of love deflowered and sorrow of none avail
hich makes this man gasp and this woman quail,
Can day from darkness ever again take flight?
Ah! gave not these two hearts their mutual pledge,
Under one mantle sheltered 'neath the hedge
In gloaming courtship? And O God! to-day
He only knows he holds her; - but what part
Can life now take? She cries in her locked heart, -
"Leave me - I do not know you - so away!:
1881.
love deflowered - - , , .
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