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ROSSETTI'S EARLIEST
PAINTINGS
Author(s): LAURA L. DOAN
Source: Soundings: An Interdisciplinary Journal, Vol. 71, No. 4 (Winter 1988), pp. 471-483
Published by: Penn State University Press
Stable URL: http://www.jstor.org/stable/41178446
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Soundings: An Interdisciplinary Journal
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LAURA L. DOAN
Stetson University
narrative that began in the first work. The two works are not
471
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472
SOUNDINGS
only clearly linked by a common theme and subject, their interconnection is further underscored by a sonnet Rossetti wrote
and attached to the frame of the first painting, "Mary's Girl-
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two paintings.
The small medieval organ on the floor behind Mary is a good
example of the problem of multiple, or multi-layered, interpretations. Traditionally, artists use this type of organ to symbolize the praise that the Church continually offers to God, as it
suggests that Rossetti intended the organ to refer to the contemporary revival of church music, though this seems to stray
quite far from the subject at hand (8). The presence of the organ may simply allude to the Pre-Raphaelite interest in things
medieval, yet its proximity to Mary and the large initial "M"
carved on its side invite a direct link between Mary and the organ. The fact that it sits unused but available implies that both
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474
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TG4872
(1848-49)
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(The Annunciation)
TG
1210
1849-50
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SOUNDINGS
the organ and Mary are the instruments of God's will; thus, the
inscription on the side of the organ reads: "O sis Laus Deo"
("May you be for God" or "May you be for the praise of God").
traditional symbol doubly laden with iconographical significance in the use of color and positioning. In some respects, the
color schema for instance, the symbolism is quite conventional,
hence, blue represents Faith, a traditional color of the Virgin
referring to truth and fidelity. Yet Rossetti also produces some
curious deviations from the standard iconography. The Latin
titles on the bindings clearly show that, while the artist presents
all three theological virtues (Hope, Faith and Charity), he includes only three of the four cardinal virtues (Fortitude, Temperance and Prudence). The omission of Justice is particularly
serious because it prevents the number of books from reaching
seven, the number symbolically linked with the Virgin's seven
joys and seven sorrows. Does Rossetti suggest that there is no
"justice" when a task is thrust upon an unwilling, naive participant? The conspicuous absence disrupts the completion of the
appropriate symbolism and forces a re-analysis of a predicament that asserts Mary as not only human but also as victim.
about what her future may hold, but not yet fully comprehensive of its implications. There is, then, a certain irony in the
fact that Rossetti creates a work replete with symbols portend-
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sharply intensified. By expanding our reading of the first painting to propose a sequential narrative relationship with the sec-
conventional iconography.
In Ecce Anelila Domini, where the narrative shifts abruptly,
Rossetti turns his attention to the task for which Mary has been
chosen and prepared. When Mary learns the reason for the
Angel's visit, her girlhood passivity succumbs to an overwhelming sense of her own powerlessness. The angel is now the initiator. This second work contains far fewer symbolic details and,
as a result, the open areas of the canvas give an immediate impression of starkness and movement, compared with the clutter
of The Girlhood of Mary Virgin. Rossetti's new interest in the
psychosexual dimension of Mary as a woman calls for the elimi-
Mary, who is sitting up in her bed - her back against the wall in
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SOUNDINGS
more ways than one. By setting this emotionally-charged encounter between Gabriel and Mary in a cramped little bedroom, and by tightly cropping the two central figures, the
painter increases tension and heightens the drama. To further
intensify the sense of claustrophobia, the only colors to offset
the overall whiteness of the scene (walls, floor and robes) are
the vivid colors of the embroidery, a bit of blue sky through a
small window and the blue drapery behind Mary at the head of
her bed. Appropriately, the traditional colors of the Virgin,
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of her body. Mary's amorphous robe suggests that she has not
weight of the news, Mary shrinks back against the wall. She
awakes from sleep only to discover another kind of awakening.
How does Rossetti's Mary respond to this mysterious circumstance, of virginity and motherhood combined? Her face registers bewildered apprehension and her body recoils in fear, an
unorthodox reaction to say the least. Rossetti appropriates
some of the traditional attributes of the Virgin but, in minimiz-
certain ideals.
With slight modifications, Rossetti ensures narrative continuity through the compositional arrangement of the figures in
both works Gabriel stands on the left and Mary sits on the
right. This physical correspondence enforces dramatic cohe-
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outside the family room just above Gabriel's head. In the Annunciation, the dove flies into Mary's bedroom to confront
her - an intrusion signaling the end of her patient, if uninformed, anticipation. The dove floats in suspension between
Gabriel and Mary. In the sequel, like Mary and Gabriel, the
Holy Spirit moves from a calm, uninvolved position to an active
one. Rossetti situates the bright red embroidery prominently
shelf, now casts a small amount of light over the angel and
Mary, reinforcing Mary's tentative sexual and spiritual awakening. Rossetti's attention to these important details reinforces
the sense of continuation that invites the viewer to read the two
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flowers on the lily are open but one is still a bud. Since the
three-flowered lily is associated with the Trinity, the fact that
one of the flowers remains unopened symbolizes the birth of
Christ which is yet to come. The bud resonates with the elements so integral to the myth of the virgin birth: purity and
emerging sexuality. By juxtaposing the two paintings, we see
that the lily acquires equal status with Mary and Gabriel - a gesture that underscores Rossetti's obsession with the dichotomy
of Mary as virgin and mother.
ual overtones have been so long ignored. Rossetti's Annunciation scene depicts the transformation from sexual innocence to
sexual awareness. Rossetti subverts the meaning of this traditional symbol of the Annunciation scene by transforming an
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uses an inordinate number of conventional symbols for an unconventional subject, the second painting, with a familiar topic,
makes unconventional use of these symbols. In the latter work,
Rossetti infuses standard Marian iconography with a new vitality through co-optation and subversion. As a result, the pro-
technical ability include: Brian and Judy Dobbs, Dante Gabriel Rossetti: An
about Rossetti's lack of formal discipline. Among those critics who discuss Rossetti's work in terms of its broader symbolism are Percy Bate,
George Bell and Sons, 1905); A.I. Grieve, The Pre-Raphaelite Period 1848-
"D.G. Rossetti as Painter and Poet," Pre-Raphaelitism: A Collection of Critical Essays, ed. James Sambrook (Chicago: University of Chicago Press,
1974); J.C. Marillier, Dante Gabriel Rossetti: An Illustrated Memorial of His Art
and Life (London: George Bell and Sons, 1901); John Nicoli, Dante Gabriel
Rossetti (New York: Macmillan, 1975); and William Sharp, Dante Gabriel
Rossetti: A Recordando Study (London: Macmillan, 1882).
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WORKS CITED
Bate, Percy
1905 The English Pre-Raphaelite Painters: Their
Associates and Successors. London: George
Bell and Sons.
Ferguson, George
1959 Signs and Symbols in Christian Art. New York:
Oxford University Press.
Fry, Roger
1916 "Rossetti's Water Colours of 1857."
Burlington Magazine (July) 100.
Grieve, A.I.
Hall, James
1974 Dictionary of Subjects and Symbols in Art. New
York: Harper 8c Row.
Henderson, Marina
1973 Dante Gabriel Rossetti. New York: St.
Martin's Press.
Jameson, Anna B.
Schiller, Gertrud
1966 Iconography of Christian Art. Trans. Janet
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