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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Here is a piece I wrote on some of my favourite early Buddhist monastic sites
India’s ancient cave monasteries
To the north of Pune lie rock-cut complexes as startling as Petra but completely overlooked by tourists ft.com/content/e0ce28…
"Open at one end, and entered by a magnificent 9m-tall horseshoe-arch, it still miraculously preserves its ancient wooden roof beams, like the wrecked keel of a prehistoric ark. These wooden shards crown one of the oldest rooms in the world..."
"Carved window frames, blind arches and tiers of fretwork mouldings give way to bamboo railings and balconies out of which half-naked Satavahana men and women peer, as if gazing out arm in arm from the terrace of their apartment block, surveying the valley below..."
Head of Shiva
Phnom Bok (Siem Reap)
Angkor Period, 10thC
Love the details here- the sharp line of the eyebrows, the finely incised iris in the eyes, the hint of beard at the chin, the metallic perfection of the skin & the otherworldly distance of the smile
Head of Brahma
Phnom Bok (Siem Reap)
Angkor Period
1st quarter of the 10thC
Head of Vishnu
Phnom Bok (Siem Reap)
Angkor Period
1st quarter of the 10thC
The Nataraja, Shiva as Lord of the Dance, is arguably the greatest artistic creation of the Chola dynasty. It is the perfect symbol of the way Chola sculptors managed to imbue their creations with both a raw sensual power & a profound theological complexity
The dancing figure of the god is not just a model of virile bodily perfection, but also an emblem of higher truths: on one level Shiva dances in triumph at his defeat of the demons of ignorance and darkness, and for the pleasure of his consort.
At another level- dreadlocks flying, haloed in fire- he is also dancing the world into extinction so as to bring it back into existence in order that it can be created and preserved anew.
Natraj- Chola,Tanjore 11thC
Now in the collection of the Guimet & Humboldt Forum
More faces of Kizil
The first meeting of Indian and Chinese art-- with Persian, Central Asian, Zoroastrian and Manichean influences- at the Kizil Buddhist Caves near Turfan in Xinjiang, c350CE
More faces from Kizil
The first meeting of Indian and Chinese art-- with Persian, Central Asian, Zoroastrian and Manichean influences- at the Kizil Buddhist Caves near Turfan in Xinjiang, c350CE
More faces from Kizil
The first meeting of Indian and Chinese art-- with Persian, Central Asian, Zoroastrian and Manichean influences- at the Kizil Buddhist Caves near Turfan in Xinjiang, c350CE