My beautiful great-grandmother Sophia Pattle Dalrymple by Watts, painted in 1852 in Little Holland House
In January 1851, the Victorian painter G. F Watts, then regarded as the country’s greatest artist- ‘England’s Michaelangelo’- came to stay at Little Holland House. This was a rambling dower house backing onto Holland Park & looking onto farmland that would soon become Kensington
Watts, according to his Franco-Bengali hostess, Sarah Prinsep, had been invited for “three days[ but] stayed for thirty years”. He lived in the house, built his studio there & frescoed the walls with allegories
The fame of Watts & the charms of Prinsep’s beautiful sister Sophia, acted as an irresistible magnet for the young Turks of the London art scene: Burne-Jones, Leighton, Rossetti & Holman Hunt. For the next 30 years Little Holland House would become the centre of London’s bohemia.
Sophia by Rossetti
Little Holland House came into its own on Sunday afternoons, when the rest of England descended into a silent Calvinistic gloom. Sara Prinsep’s highly unconventional Sunday gatherings attracted all the leading lights of the day.
As well as the artists, there came large numbers of writers: Thackeray, Browning, Tennyson & George Eliot, Ruskin & Carlyle, the scientist Sir John Herschel, the explorer Richard Burton and a tolerated minority of politicians such as Gladstone and Disraeli.
Guests were free to roam around the wide lawns, “to sit talking in the shaded, richly coloured lavender-scented rooms, or relax over a game of croquet”.
Sophia's sister, Julia Margaret Cameron, who was taking shots to illustrate Tennyson’s Idylls of the King, would drape luminaries in rugs and tinsel crowns and make to them pose as King Arthur, while stray passers by would be dressed up as Queen Guenevere or the Lady of the Lake
As darkness descended, musicians among the guests such as Joachim or Hallé would get out their instruments and begin to play.
Sarah & Sophia's mother was French and they had a Bengali Hindu great-grandmother from whom she and her sisters inherited their dazzling dark eyes & skin. The family had been brought up in Calcutta and they spoke Hindustani among themselves and tied rakhis on their wrists.
While the rest of London was suffocating in crinolines& busks “the ladies at Little Holland House had adopted a graceful&beautiful style of dress made of rare Indian stuffs &from India came also many of the ornaments they wore: the clustered pearls, the delicate Indian jewells”
Sophia's portrait is now at the wonderful @WattsGallery but is currently being conserved before setting off on tour to the Royal Academy then the Washington National Gallery for the Women in White show.
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ZEBRAS & ZODIACS:
JAHANGIR & THE MUGHAL ART REVOLUTION
The Emperor Jahangir was a true connoisseur of beauty. His reign witnessed a flourishing of art, particularly through his patronage of workshops of brilliant artists who between them created a series of extraordinary masterpieces.
The reigns of Jahangir saw the artistic highpoint of the Mughal atelier, and with it the moment of greatest celebrity for the masters at court. Jahangir awarded his two master artists, the brilliant animal painter Mansur and his rival Abu’l Hasan, the titles Nadir al-Zaman, ‘Wonder of the Age,’ and Nadir al-Zaman, “Wonder of the Times.”
Abu’l Hasan seems to have been a particular favourite of Jahangir. “I have always considered it my duty to give him much patronage,” wrote the Emperor in his own autobiography, the Jahangirnama, “and from his youth until now I have patronised him so that his work has reached the level it has.”
The oldest surviving sculptures of the Buddha in Southeast Asia. Found at Oc Eo, now on the Vietnamese side of the Mekong Delta, and the presumed site of one the very first Indic-influenced courts in the region, known to the Chinese as Funan.
The Chinese called this city state Funan – the Indians, Vyadhapura. We do not know what it was called by its own inhabitants. A Chinese court envoy who came to Funan in the third century ce left the first eyewitness portrait of this nascent trading world. ‘This place is famous for precious rarities from afar,’ wrote the Chinese Xue Zong in the third century ce: ‘pearls, incense, elephant tusks, rhinoceros’ horn, tortoise shell, coral, lapis lazuli, parrots, kingfishers, peacocks, rare and abundant treasures enough to satisfy all desires.’
To 21stC eyes, the tall waterlogged wooden Buddhas found at the site are astonishingly beautiful- like Giacometti's Walking Man, and even more than that, the Etruscan bronze know as The Shadow of the Evening which inspired some of his best work
To close 2024 @tweeter_anita & I look at the chaotic first attempts of the English crown to open diplomatic relations with Mughal India
THE ROOTS OF THE RAJ-
Sir Thomas Roe at the Court of Jahangir
The East India Company realised that if it was to trade successfully with the Mughals, it would need both partners and permissions. This meant establishing a relationship with the Mughal Emperor himself.
The man chosen was a courtier, MP, diplomat, Amazon explorer, Ambassador to the Sublime Porte and self-described ‘man of quality’, Sir Thomas Roe.
"The Nabateans are a silent partner in everything that goes on in the high summer of the Ancient period” - Bettany Hughes
By the time of Jesus’ birth, a mysterious empire had built its wealth through trading two of the gifts present at the Nativity: frankincense and myrrh.
Aromatic crystals harvested from the sap of gnarled trees, frankincense and myrrh were highly desirable commodities known as the tears or the breath of the gods.
We are proud to present the first episode of our Christmas mini-series-
WHO WERE THE THREE WISE MEN?
Featured in every Nativity scene in school plays, churches, and art around the world, the Three Wise Men are key characters in the Christmas story. But they are actually only mentioned once in the Bible, appearing in Matthew’s gospel. He describes them not as Kings, not as generalised Wise Men, but specifically as Magi.
So what exactly did he mean by that?
The word ‘magi’, derives from the Old Persian ‘magus’, and specifically refers to the Zoroastrian Persian high priesthood, who were renowned throughout the Middle East for their knowledge of the stars and for their expertise in astrology.
The name title stood out in the gospel for being one of the only words in Persian. It is also the root of the English word 'magic' for which the Magi were renowned.
"Early in his reign, Akbar had made it clear that he had no time for ultra-Orthodox Muslim opinion which objected the depiction of the human form: “There are many that hate painting,” he wrote, but such men I dislike. It appears to me as if a painter had a quite peculiar means of recognising God; for a painter in sketching anything that has life, and in devising its limbs, one after the other, must come to feel that he cannot bestow individuality upon his work, and is thus forced to think of God, the giver of life."
As a child, Akbar was dislexic: no one was able to teach him how to read. But he still loved literature - the Indian and Persian epics and Ferdowsi poetry and were read to him by travelling picture showmen and discussed in detail. This seems to have inspired his love of visual arts: ‘one of the biggest paradoxes of art history: the prolific production of illustrated manuscripts was initiated by a man who could not read them himself’.
Akbar began the tradition by which the Mughals, perhaps more than any other Islamic dynasty, made their love of the arts and their aesthetic principles a central part of their identity as rulers.
They consciously used jewellery and jewelled objects as they used their architecture, art, poetry, historiography and the dazzling brilliance of their court ceremonial – to make visible and manifest their imperial ideal, to give it a properly imperial splendour, and even a sheen of divine legitimacy. As Abu’l Fazl put it, ‘Kings are fond of external splendour, because they consider it an image of the Divine glory.’