In the year 1869, just before leaving Venice, I had been carefully looking at a picture by Victor Carpaccio, representing the dream of a young princess. Carpaccio has taken much pains to explain to us, as far as he can, the kind of life she leads, by completely painting her little bedroom in the light of dawn, so that you can see everything in it It is lighted by two doubly-arched windows, the arches being painted crimson round their edges, and the capitals of the shafts that bear them, gilded. They are filled at the top with small round panes of glass; but beneath, are open to the blue morning sky, with a low lattice across them; and in the one at the back of the room are set two beautiful white Greek vases with a plant in each, one having rich dark and pointed green leaves, the other crimson flowers, but not of any species known to me, each at the end of a branch like a spray of heath.
These flower-pots stand on a shelf which runs all round the room and beneath the window, at about the height of the elbow, and serves to put things on anywhere; beneath it, down to the floor, the walls are covered with green cloth, but above are bare and white. The second window is nearly opposite the bed, and in front of it is the princess’s reading-table, some two feet and a half square, covered by a red cloth with a white border and dainty fringe; and beside it her seat, not at all like a reading-chair in Oxford, but a very small three-legged stool like a music-stool, covered with crimson cloth. On the table are a book, setup at a slope fittest for reading, and an hour-glass. Under the shelf near the table, so as to be easily reached by the outstretched arm, is a press full of books. The door of this has been left open, and the books, I am grieved to say, are rather in disorder, having been pulled about before the princess went to bed, and one left standing on its side.
Opposite this window, on the white wall, is a small shrine or picture (I can’t see which, for it is in sharp retiring perspective), with a lamp before it, and a silver vessel hung from the lamp, looking like one for holding incense.
The bed is a broad four-poster, the posts being beautifully wrought golden or gilded rods, variously wreathed and branched, carrying a canopy of warm red. The princess’s shield is at the head of it, and the feet are raised entirely above the floor of the room, on a dais which projects at the lower end so as to form a seat, on which the child has laid her crown. Her little blue slippers lie at the side of the bed, her white dog beside them; the coverlid is scarlet, the white sheet folded half way back over it; the young girl lies straight, bending neither at waist nor knee, the sheet rising and falling over her in a narrow unbroken wave, like the shape of the coverlid of the last sleep, when the turf scarcely rises. She is some seventeen or eighteen years old, her head is turned towards us on the pillow, the cheek resting on her hand, as if she were thinking, yet utterly calm in sleep, and almost colourless. Her hair is tied with a narrow riband, and divided into two wreaths, which encircle her head like a double crown. The white nightgown hides the arm, raised on the pillow, down to the wrist.
At the door of the room an angel enters (the little dog, though lying awake, vigilant, takes no notice). He is a very small angel; his head just rises a little above the shelf round the room, and would only reach as high as the princess’s chin, if she were standing up. He has soft grey wings, lustreless; and his dress, of subdued blue, has violet sleeves, open above the elbow, and showing white sleeves below. He comes in without haste, his body like a mortal one, casting shadow from the light through the door behind, his face perfectly quiet, a palm-branch in his right hand, a scroll in his left.
So dreams the princess, with blessed eyes that need no earthly dawn. It is very pretty of Carpaccio to make her dream out the angel’s dress so particularly, and notice the slashed sleeves; and to dream so little an angel – very nearly a doll angel – bringing her the branch of palm and message. But the lovely characteristic of all is the evident delight of her continual life. Royal power over herself, and happiness in her flowers, her books, her sleeping and waking, her prayers, her dreams, her earth, her heaven.
“How do I know the princess is industrious?”
Partly by the trim state of her room – by the hour-glass on the table, by the evident use of all the books she has (well bound, every one of them, in stoutest leather or velvet, and with no dog’s-ears), but more distinctly from another picture of her, not asleep. In that one a prince of England has sent to ask her in marriage; and her father, little liking to part with her, sends for her to his room to ask her what she would do. He sits, moody and sorrowful; she, standing before him in a plain housewifely dress, talks quietly, going on with her needle-work all the time.
A workwoman, friends, she, no less than a princess; and princess most in being so. In like manner is a picture by a Florentine, whose mind I would fain have you know somewhat, as well as Carpaccio’s – Sandro Botticelli. The girl who is to be the wife of Moses, when he first sees her at the desert well, has fruit in her left hand, but a distaff in her right.
“To do good work, whether you live or die” – it is the entrance to all Princedoms; and if not done, the day will come, and that infallibly, when you must labour for evil instead of good.
– Fors Clavigera
Sunnyside, Orpington, Kent, 1872.