A new blog-post for a New Year —— starting as I mean to go on. . .

‘Emily and Tree Art Same’. Unless deliberately blind to the Truth —— I can’t imagine how any one could deny that this is a portrait of the author of ‘Wuthering Heights’.

The sisterly hand responsible for this very personalised portrait of Emily Brontë —— ingeniiously added a foolproof ‘watermark’; disguised from left to right as folds in the sitter’s cloak —— the wearer is boldly identified as “E M I L Y”. . .

“E M I L Y” 

Whilst traces of the artist’s signature in the bottom right-hand corner of the original portrait are faded with age and are only just visible to the naked-eye still —— the inner lines of “E M I L Y” remain bold.

In this sense, the identity of the sitter is ineradicable; “E M I L Y” the name —— couldn’t be anymore permanent than if it had been carved in an Oak casement at ‘Wuthering Heights’! 

This blog-post is about the etymology of a portrait, namely the ‘lost’ portrait of Emily Brontë, drawn by her sister, Charlotte; such a pencil portrait is known to have existed but it was lost in 1880. Although the drawing in question doesn’t have provenance in the form of documentation, the artist responsible left several clues to trace the portrait’s roots back to Haworth —— to the hand of Charlotte Brontë. 

Despite the portrait’s determined cries of “Let me in——let me in!”  —— the Brontë Establishment go on ring-fencing the wrong ‘lost’ portrait of ‘Emily’; namely Branwell’s portrait of ‘Emily’ in the National Collection —— that is evidently a portrait of Anne Brontë! The situation is very unfair to the memory of Anne Brontë —— as well as the real ‘lost’ portrait of “E M I L Y”.

Truth be told, Charlotte’s ‘lost’ pencil portrait of Emily went missing in 1880, and was given up as irrevocably lost. . .

In 1894 and 1896 respectively, ‘The Bonnet Portrait of Emily Brontë’ emerged in print —— but again the source of this photogravure remained a total mystery.

All too eagerly and without a shred of evidence against the portrait ‘type’ —— The Brontë Establishment cast ‘The Bonnet Portrait of Emily Brontë’ out into the cold where it has remained unloved for more than one-hundred years. Imagine their disquiet —— when ‘The Bonnet Portrait of Emily Brontë’ in Charlotte’s original format —— came back to haunt them in 2016!!! 

Because of the wrong ‘lost’ portrait of ‘Emily Brontë’ in the National Collection —— the Brontë Establishment keep as quiet as the proverbial grave in order to keep a lid on their historic mistake. That said, I often get a feeling that a certain unquiet sleeper beneath St Michael and All Angels in Haworth, knows full well that her precious ‘lost’ portrait of her sister, Emily —— came home on Monday, 15th April 2019 —— but was turned back. I tell you, it’s Charlotte who won’t let this matter rest! 

“Shifting Perceptions” The Brontë Parsonage, Haworth —— Monday, 15th April 2019 —— ‘Haworth’ in Old English means ‘hedged enclosure’ or ‘Hawthorn enclosure’. 

Certainly where the real ‘lost’ portrait of Emily Brontë is concerned —— the etymology of ‘Haworth’ is very apt; it’s my experience that The Brontë Parsonage Museum in Haworth has proved virtually impenetrable! But where there is a will (let alone a The Truth!) there is surely another way. . . 

The parallels between the ‘lost’ portrait’s story and ‘The Tale of Sleeping Beauty’ are manifest; there’s a Prince —— namely Sir William Robertson Nicoll! A court-jester —— nay Fool —— Clement Shorter! Sleeping Beauty herself —— “E M I L Y”. As for the dark presence or “malévola” in the shadows —— they all know who THEY are!!! 

And exactly what is my role in this modern-day fairytale? —— I’m curator/narrator/blogger of the real ‘lost’ portrait of Emily Brontë‘. . .

The Brontë Establishment would happily have the portrait ‘type’ (‘The Bonnet Portrait of Emily Brontë’) banished for good. They’re not concerned if “E M I L Y” goes back to sleep for another hundred years —— but not if I —— or Charlotte —— or the Truth have owt to do with it! Why can’t they (The Brontë Establishment) see that they’re the ones who have been asleep for more than a century with their eyes wide shut! It’s my considered opinion that it’s a dereliction of duty by those ‘concerned’.

To date, The Bronte Establishment have taken a very dim view of my ‘Bonnet’ findings.

Earliest known publications of the portrait ‘type’ pertaining to the ‘lost’ portrait of Emily Brontë by her sister, Charlotte. Published in 1894 and 1896 respectively. The Editor-in-Chief of both publications ‘happened to be’ Sir William Robertson Nicoll; one and the same person who wrote this next statement about the lost portrait of Emily Brontë. 

    “In July, 1879, I paid a visit to Haworth, and had an interesting interview with Martha Brown, the faithful servant who nursed all the Brontës, and saw them all die. She possessed many relics of the famous sisters, which had been given her by Mr. Brontë… Martha Brown possessed a very clearly and boldly drawn pencil sketch of Emily by Charlotte, which I in vain endeavoured to purchase. After her death, what she left was divided among four sisters, with all of whom I communicated without succeeding even in tracing the picture.”Sir William Robertson Nicoll, (The Bookman, vol. 1, p.63)

The original ‘lost’ portrait beside a printed version of ‘The Bonnet Portrait of Emily Brontë’ in ‘A Guide to Haworth’ — published circa 1900 to 1910. The ‘Bonnet’ has a very long history! 

My first real clue to identifying Charlotte Brontë’s ‘lost’ portrait of “E M I L Y” came from the trees; seeing was literally believing. Photographic evidence taken on Saturday, 26th. November 2016. . .

“Enter these enchanted woods, you who dare.” No one can tell me that Tree-Spirits are purely mythical —— because this tracery of trees at the edge of a local wood were the key to my discovering Charlotte Brontë‘s secret ‘WordArt’; “E M I L Y” in the trees —— like joined-up writing in 2016. And yes, I do dare to enter!

Home was definitely where Emily Brontë’s heart was ——but her spirit thrived in’t back-yard so to speak! As Charlotte put it —— her sister was “a native and nursling of the moors”.

The eternal Moors gave rise to Emily’s imagination —— and to her only novel, ‘Wuthering Heights’. . .

To me, the iconography of these two lone figures mirroring each other in a brooding, moorland landscape —— personifies the author; Emily and Tree Art Same! I know from my own mental picture of the author, I only have to see a lone, wind-sculpted tree on my Dartmoor walks —— and Emily Brontë immediately springs to mind! This modern-day edition of Emily’s 175 year old bestseller is “Rivetingly retold for today’s readers” —— published by Usbourne Classics Retold. 

If “Liberty” was Emily Jane Brontë’s ‘second name’ —— “Perseverance” is mine. . .

I will not give up on “E M I L Y” because I know that the drawing is genuine.

I think this beautiful clothbound cover published by ‘Puffin Books’ —— perfectly encapsulates my argument for Charlotte Brontë’s ineradicable portrait of the author; ‘Emily and Tree Art Same’

“E M I L Y” is right at the heart of it. Highlighted in light-blue for easy detection.

The origin —— the etymology of Charlotte’s ‘lost’ pencil portrait of her sister, “E M I L Y” —— can be linked back to an 18th Century engraving boldly called, “WOOD-NYMPH”. . .

“WOOD-NYMPH” means tree-spirit or dryad. 

When Charlotte prefaced the second edition of ‘Wuthering Heights’ in 1850, she tellingly wrote this about the Nature-loving author: 

    “Had she but lived, her mind would of itself have grown like a strong tree, loftier, straighter, wider—spreading, and its matured fruits would have attained a mellower ripeness and sunnier bloom. . .”

In ‘Wuthering Heights’ trees have a tendency to morph into human form —— so it’s hardly surprising that Charlotte Brontë merged the two in terms of how she formalised her idea for creating a small, personalised portrait of her sister, “E M I L Y”.  

And let’s not forget —— ‘Wuthering Heights’ is woven around a Family Tree! One can’t escape the tree connections. . .

“The Earnshaws and The Lintons”. Illustrations by Skip Liepke —— The Reader’s Digest Edition —— published 1990.

Lockwood’s horror as he discovers the fir branch has morphed into a little, ice-cold hand. “Let me in—let me in!” —— grippingly illustrated by Nell Booker. Chapter III ‘Wuthering Heights’ — published by The World Publishing Company — Rainbow Classics Edition 1947. 

   “This time, I remembered I was lying in the oak closet, and I heard distinctly the gusty wind, and the driving of the snow; I heard, also, the fir bough repeat its teasing sound, and ascribed it to the right cause: but it annoyed me so much, that I resolved to silence it, if possible; and, I thought, I rose and endeavoured to unhasp the casement. The hook was soldered into the staple: a circumstance observed by me when awake, but forgotten. “I must stop it, nevertheless!” I muttered, knocking my knuckles through the glass, and stretching an arm out to seize the importunate branch; instead of which, my fingers closed on the fingers of a little, ice-cold hand!” —— Chapter III ‘Wuthering Heights’

And Catherine haunting Heathcliff in the form of a tree-spirit or Dryad. Illustration by Nell Booker – Chapter XXXIII ‘Wuthering Heights’ – published by The World Publishing Company – Rainbow Classics Edition 1947.

In Classical Mythology there is a particular branch of tree-spirits called ‘Hamadryads’. . .

This Hamadryad lives in a hedge just up the road from me —— about an hour away on foot. We’ve been telling to each other for nigh on fifty years!

A ‘Hamadryad’ is a type of Dryad or Wood-Nymph that’s physically part of her tree —— if her tree withers and dies —— or is felled —— she dies too; it could be argued that Emily Brontë was the same. Emily was so deep-rooted in her habitat that she pined whenever she was physically torn from it; if one needed proof that such a being existed in human form —— it must surely be, Emily Brontë! The etymology of ‘dryad’ comes from Old French ‘driade’ meaning ‘wood nymph or tree spirit’ —— the ‘dry’ in dryad comes from the Greek word ‘Oak’.

Emily Bronte’s life was mercilessly cut short by Pulmonary tuberculosis on Tuesday, 19th. December 1848 —— aged only 30. Just six days later —— Charlotte wrote this about the unforgiving nature of Emily’s passing. . .

    “So I will not now ask why Emily was torn from us in the fullness of our attachment, rooted up in the prime of her own days, in the promise of her powers; why her existence now lies like a field of green corn trodden down, like a tree in full bearing struck at the root.” —— Charlotte Brontë in a letter to W.S. William of ‘Smith, Elder & Co.’ —— 25th December, 1848.

Even in a raw state of grief —— Charlotte Brontë described Emily as “a tree in full bearing struck down at the root”. So it reasonably follows that Charlotte’s wellspring for a small, personalised portrait of “E M I L Y” has its roots in an engraving called “WOOD-NYMPH”. . .

“WOOD-NYMPH” was published in 1787 after an original painting by royal academician, Samuel Woodforde (1763 —— 1817). . .

It’s graphically clear that the artist responsible for “E M I L Y” —— as highlighted in red —— drew their inspiration from this 18th century engraving.

Bear in mind too, that the retrospective plot of ‘Wuthering Heights’ is set in the same time frame as Samuel Woodforde’s “WOOD-NYMPH” —— or thereabouts; the engraving was published, in “1787”. . .The engravings metamorphosis from “WOOD-NYMPH” into “E M I L Y” —— has not only captured the outdoorsy, Nature-loving spirit of Emily Brontë —— but is also echoic of ‘Wuthering Heights’. . .

In a rustic setting, a large bonnet or ‘Gypsy-Straw’ —— coupled with a heavy cloak were basic kit in the 18th century! ‘Wuthering Heights’ — published by Bantam Books 1974.

I continue to challenge the Brontë Establishment’s opinion of “E M I L Y” because they harbour a preconceived mindset of the portrait ‘type’ that is out-of-date by at least a hundred years! As an atypical Brontë scholar, I’m not the best read in terms of Brontë Literature but I’m very skilled at reading between the lines of Charlotte Brontë’s Art —— due to the fact that I’m in a rare and privileged position to study every minuscule detail at first hand. . .

The ‘lost’ Art of Charlotte Brontë —— Courtesy of ‘The Bonnet Collection’.

If the Brontë Establishment had the grace to admit that Branwell’s portrait of ‘Emily’ in The National Collection is in fact a portrait of Anne Brontë —— Charlotte’s pencil version of the ‘Bonnet Portrait of Emily Brontë’ could be seen in its true light; it is surely the ‘lost’ portrait seen by Sir William Robertson Nicoll in 1879.

It’s official! —— a librarian’s strike-through in this 1927 catalogue, strikes home just how long overdue an official review of the portrait(s) is. . .

The Brontë Society Catalogue of The Museum and Library — Haworth 1927. 

“Portrait of Anne Brontë” —— “The Brontë Society Catalogue of The Museum and Library — Haworth 1927.” Formerly a library book of the University of Aberystwyth (officially stamped “withdrawn”) —— “Anne” has been ruled out in favour of “Emily” except “Anne” wasn’t a misprint in the first place!

“I’m in a privileged position to study every minuscule detail at first hand.” Believe me, this is the true ‘lost’ portrait of Emily Brontë. 

True to form, Charlotte singled-out this 18th century engraving of a “WOOD-NYMPH” —— to use as her template for “E M I L Y”.

Subject wise, “Woman in Leopard Fur” by Charlotte Brontë is also derived from Classical Mythology. . .

Left:’Woman In Leopard Fur’ engraved by Edward Smith after James Northcote. Right: Charlotte Bronte’s copy as listed in the Brontë Establishment’s catalogue raisonne —— ‘The Art of the Brontës’ by Christine Alexander and Jane Sellars.

‘The Art of the Brontës’ doesn’t give any information at all about the original source of Charlotte’s ‘Woman In Leopard Fur’. In other words, I didn’t read that Charlotte’s ‘Woman In Leopard Fur’ is a copy of an engraving by Edward Smith after James Northcote; as the “Library Angels” would have it, I came across Charlotte’s source last year. . .

Another hitherto unsolved Brontë mystery solved by yours truly! Charlotte’s ‘Woman In Leopard Fur’ is a copy of this engraving by Edward Smith (fl. 1824 – 1849) —— after a painting by James Northcote (B.1746 – D.1831)

I wonder if Charlotte’s ‘Woman In Leopard Fur’ was the seed-thought for Bertha Mason, the madwoman in the attic in ‘Jane Eyre’? As crazy as this may first sound, it isn’t. The ‘Woman in Leopard Fur’ is a ‘Maenad’ —— her free-flowing hair and Leopard-skin are the giveaway clues to her identity. In Greek mythology, Maenads are the female groupies of Dionysus —— god of wine and ecstasy! The etymology of ‘Maenad’ literally means ‘raving one’ or ‘madwoman’. 

This is another artist’s interpretation of a ‘Maenad’ pertinently titled ‘A Wood Nymph’; Note her leopard skin and free-flowing hair. From a painting by French artist, Jean Baptiste Greuze (1725 – 1805). Maenads and Wood-Nymphs are closely related.  

Discovering Charlotte’s source for ‘Woman in Leopard Fur’ shows that Charlotte expressed more than a passing interest in Classical Mythology. . .

‘Dyradology’ is the study of Tree-Spirits —— and is probably a made-up word for the sole purpose of this blog-post —— but the rest is all totally factual. . .

“J WHAT[MAN]” —— “E M I L Y” drawn on ‘J. Whatman’ watermarked paper —— Charlotte’s paper-maker of choice.

Raphael Smith after an original oil painting by Samuel Woodforde R.A.. “Wood-Nymph” is another name for a ‘Dryad’ or ‘Tree-Spirit’. . . 

Like grain through wood —— the identity of the sitter is ingrained from left to right; “E M I L Y” it says in five, bold pencil strokes. . .

“E M I L Y” hiding in ‘plain sight’. Lower Right: ORIGINAL “E M I L Y” for comparison.

In the same vein that Charlotte’s novels are semi-autobiographical —— “E M I L Y” is figuratively drawn from life. . .

Charlotte wove a whole chapter around a “Dryad” in ‘Villette’ —— her last novel published in 1853. . .

Chapter XXXI “THE DRYAD” — Villette by Charlotte Brontë.

Charlotte’s “Dryad” turns out to be the restless soul of a nun, who in breach of her vows was incarcerated alive in a vault beneath an ancient fruit-bearing tree. The veiled figure is most likely a figment of the author’s imagination as well as Lucy Snowe’s —— the novel’s main protagonist —— but “The Methuselah of a pear-tree” existed. Charlotte’s inspiration for “The Dryad” has roots that were firmly planted in her reality —— from her time studying at the Pensionnat Héger in Brussels where she and Emily studied from 1842-1843.  

Owing to the fact that I spend a disproportionate amount of time gleaning the Art of the Brontës rather than reading all of Charlotte’s four novels —— I realise in hindsight why I failed to connect the links between Charlotte’s obvious interest in ‘Dryadology’ —— and “E M I L Y” the drawing. It’s all because I hadn’t read ‘Villette’ —— mea culpa!!! That said, what I lack in studiousness —— I more than make up for in intuitiveness. . . 

My interest in ‘Villette’ was ignited by a scroll-stopping photograph I recently saw on eBay for a copy of ‘Villettë’ —— costing £4.20 no less! —— plus free postage and packing. Divine providence I call that! In terms of clarity, the seller’s image didn’t sell the book to me because it didn’t show anything, as in the book’s age or condition. This is the bookseller’s image; it was the ‘lightsaber’ that sold “Villette” to me. . .

Reader, I bought it! It cost £4.20 no less! —— plus free postage and packing. An edition of ‘Villette’ by Charlotte Brontë sold by “ZENBOOKSZEN” on eBay. 

I didn’t even need another edition of ‘Villette’ as I already had a perfectly readable one —— albeit unread!!! But I felt like something or someone had tapped me on my shoulder again and whispered, “Buy It Now”. . .

Held in my own hand, my first impression was that “Villette” looked small and plain —— and dare I say it, disappointingly ordinary! For starters, I’d anticipated it to be black like a small, antique Bible but in reality it is a dull sage-green. Inside the front cover there is a little magick ‘square’ of provenance —— in the form of the original bookseller’s ticket, “R. R. Balfour” of Montrose, Scotland. . .

It got more compelling with each page turned.

Hastily, I ran my finger down the contents page(s) looking for something significant to leap out at me —— it was then that I experienced my own lightsaber moment, circled. . .

Chapter XXXI “The Dryad”. For those like myself who are not wholly familiar with the origin of a ‘Lightsaber’ —— it’s the weapon of the ‘Jedi’ in the Star Wars series of movies; the ‘Jedi’ are a force for good. According to a Google word search, “a Jedi is one who demonstrates extraordinary skill or expertise in a specified field or endeavour” —— now that does sound familiar! To sum up, a ‘lightsaber’ is essentially a sword of pure energy.

This is a much rarer edition of VILLETTE BY CHARLOTTE BRONTË but I can’t pretend that I purchased it with the intention of reading it! Rather, it was the visual impact of its frontispiece that drew me in —— but no further than the title page!!!

Having encountered a malévola during my ‘Bonnet’ travels through Brontëland – this frontispiece leapt off the page! The illustration depicts the moment when Lucy Snowe crosses the “inhospitable threshold” of Madame Walravens’. The “obstruction” in the doorway is Madame Walravens; a ‘malévola’ or bad fairy! 

It’s a scene that’s all too familiar in ‘The Bonnet’ book too. . .

In 2019, this portrait sketch of “E M I L Y” was dismissed in the same off-hand manner as Lucy Snowe’s offerings to Madame Walravens; it too was rejected on sight. The existence of “E M I L Y” —— disguised as folds in the sitter’s drapery  —— was denied by the Brontë Establishment on Monday, 15th. April 2019  —— yet it’s illustratively plain to see that the presence of “E M I L Y” rings true.

Chapter XXXI “THE DRYAD” — Villette by Charlotte Brontë. 

Charlotte’s source for her portrait of “E M I L Y” —— was published in 1787. Objectively speaking, this means that a hand-coloured stipple engraving of Samuel Woodforde’s original painting called, “WOOD-NYMPH” was reproduced in print in 1787 —— and was in circulation for twenty-nine years before Charlotte Brontë was even born! Add to that, the engraver was “the most celebrated engraver of the period” —— John Raphael Smith. Be certain to click the link to see who’s words these are about John Raphael Smith (1751-1812). . .

“WOOD-NYMPH” published Monday, 12th February 1787 to be precise!

Because Charlotte Brontë was an appreciator and a meticulous copier of 18th and early 19th century engravings —— it’s logical that Charlotte singled out the exact lines and stipples of the Georgian Era’s “most celebrated engraver”. Before Charlotte turned to writing as a way of earning her living —— her intention was to be an artist; Charlotte honed her skill by meticulously copying engravings. Pencil was Charlotte’s most favoured medium, indeed it was her forte! It’s imperative to read the following quote from Mrs Gaskell —— in order that one gets a proper grasp of Charlotte’s engraving obsession. . .

     “It is singular how strong a yearning the whole family had towards the art of drawing. Mr. Bronte had been very solicitous to get them good instruction; the girls themselves loved everything connected with it —— all descriptions or engravings of great pictures; and, in default of good ones, they would take and analyse any print or drawing which came in their way, and find out how much thought had gone to its composition, what ideas it was intended to suggest, and what it DID suggest. In the same spirit, they laboured to design imaginations of their own; they lacked the power of execution, not of conception.  At one time, Charlotte had the notion of making her living as an artist, and wearied her eyes in drawing with pre-Raphaelite minuteness, but not with pre-Raphaelite accuracy, for she drew from fancy rather than from nature.” —— from Elizabeth Gaskell’s ‘The Life of Charlotte Brontë’.

For all Charlotte’s so-called meticulousness —— she often made alterations in order to make the subject matter her own; her portrait of “E M I L Y” after John Raphael Smith’s “WOOD-NYMPH” is a shining example of this.

An incidental observation I made during my searches of “Samuel Woodforde” is that the artist’s father’s christian name was, “Heighes”; an unusual name —— from the Anglo-Saxon meaning ‘high’. At first sight, the name ‘Heighes’ in print —— conjured up thoughts of Emily Bronte’s ‘Wuthering Heights’.

Just a thought.

Left. “Wood-Nymph” one of a pair of engravings after Samuel Woodforde depicting English rural life in the 18th Century. Right. “Shepherdess”.

The Bonnet Collection’s own centuries-old, hand-coloured engraving of “WOOD-NYMPH” —— brought into sharper focus. . .

Because of Emily’s undisputed genius – it’s easy to forget her day-to-day responsibilities. Emily was adept at the art of ‘mind over matter’ in that she could lose herself in domesticity. The practicalities of rural Victorian life dictated that she couldn’t always have her head in the hills, so she knuckled down helping Tabby and Martha keep home. Fetching a faggot for the hearth would have been a daily chore for strong, lithesome Emily! Samuel Woodforde’s ‘WOOD-NYMPH’ is no airy fairy ‘Tree-Spirit’ —— she’s a hard grafting, down-to-earth type, just like our Emily.  

And let us remind ourselves of Charlotte’s words again, following Emily’s passing. . .

    “So I will not now ask why Emily was torn from us in the fullness of our attachment, rooted up in the prime of her own days, in the promise of her powers; why her existence now lies like a field of green corn trodden down, like a tree in full bearing struck at the root.” —— Charlotte Brontë in a letter to W.S. William of ‘Smith, Elder & Co.’ —— 25th December, 1848.

Is that not a field of ripe corn over yonder? And that distant hill is reminiscent of any one of Yorkshire’s three great peaks. Or because the Brontë Sisters often crossed the border into Lancashire —— on their frequent visits to the hamlet of Wycoller near Colne, I think it’s more likely it symbolised the great whale-back of Pendle Hill in Charlotte’s mind’s-eye.

It was a full twenty-nine years after the engraving’s publication date that Charlotte Brontë was born, 21 April 1816 —— let alone when she flourished as an artist and writer. Charlotte died, 31 March 1855. She had ample time to sought out a copy of this engraving.

It’s a great shame that the Brontë Establishment can’t grasp my arguments for “The Bonnet Portrait of Emily Brontë” —— and that they claim they can’t even perceive the visual clues that Charlotte worked into her pencil drawings, including at least two drawings that are right under their noses in the official collection in Haworth. Because of this, it’s imperative to reference two of my previous fact-finding missions, links at the foot of this post —— that expose Charlotte’s secret ‘WordArt’ for what it is; they’re the facts as I literally see them before me. . .

My research has to be understood objectively, not subjectively —— because the drawing is totally verifiable. If science could be implemented like that seen on the BBC’s [Fake or Fortune?] —— my findings would all make perfect sense because Charlotte’s minuscule details that are in the portrait itself would be revealed —— let alone a possible signature and date. . .

This photograph of a normal printout actually highlights the remains of the artist’s timeworn signature better than if I directly photograph the original drawing —— so just imagine what science could reveal! I promise, Charlotte’s Truth is hiding here in this ‘circle’.

I sensed very early on that the key to “E M I L Y” is in the trees. . .

When this ‘pair’ arrived together in the post in 2016, they were individually wrapped in protective cellophane, inside a board-backed envelope. Even though I’d been eagerly anticipating “Lady with Bonnet”, I decided to unwrap the other drawing first. As I carefully pulled the sellotape away from the cellophane, the cellophane split without warning —— which in turn ripped through the edge of the paper! 

For fear of lightning striking twice, I left extricating “Lady with Bonnet” for at least another day!

Knowing what I now know about “E M I L Y” —— I realise trees in some shape, form or other have been key to discovering the drawing’s ‘lost’ identity. Trees and the drawing that I identify as “E M I L Y” are intrinsically linked; they’re the same.   

Disappointingly, the Brontë Establishment remain indifferent to “E M I L Y” —— and I can’t explain beyond this blog-post, just how I know that the drawing is Charlotte’s ‘lost’ portrait of her sister, “E M I L Y”.

I mean, it’s not easy to put into words that trees told me so! —— but science could prove I’m right about “E M I L Y”. 

I can only describe watching Frances O’Connor’s new biopic ‘Emily’ as a blast of fresh moorland air! In the literary world of the Brontës, that’s mostly ruled by stuffed shirts —— Emily’s on-screen passion with assistant curate, William Weightman —— is no doubt viewed by some as heretical but I loved the movie!   

In the quiet of my own home, with only the drawing I identify as “E M I L Y” in the next room for company, I found the final scene when Charlotte looks to the trees more affecting than the mask scene. This is the beautiful soundtrack composed by Abel Korzeniowski that accompanies the final scene of the film, and it’s pertinently called, “The Autumn Tree”. . .    

http://somethingaboutdartmoor.com/2020/05/02/spelling-it-out-the-art-of-steganography-in-the-art-of-charlotte-bronte/

http://somethingaboutdartmoor.com/2022/05/17/the-lost-portrait-of-emily-bronte-charlottes-name-game-uncovered/

“The ‘Lost’ Portrait of Emily Brontë: And Why You Can’t Keep An Honest Portrait Down!”

This post is all about the evolution of ‘The Bonnet’ —— officially ‘The Order of The Bonnet’ —— in chronological order. Significantly, published on Sunday, 16th. October, 2022. . .

Charlotte Bronte’s ‘Jane Eyre’ was published on this day in 1847.

I believe that the gypsy scene in chapter nineteen of ‘Jane Eyre’ irrefutably links the ‘Bonnet Portrait’ with Charlotte Brontë’s hand —— or how else did she come to paint such a vivid picture of the Gypsy’s head attire? —— “a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin” —— these are not my words but those of Charlotte Brontë’s. It’s obvious from Charlotte’s description that she was well-acquainted with the ‘Bonnet Portrait’ —— she almost certainly had the portrait ‘type’ in her head as she penned these words;

“a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin”. . .

‘The Order of The Bonnet’

1787.

Hand-coloured stipple engraving published in 1787.

All Bonnet ‘type’ portraits have their roots in ‘Wood-Nymph’ —— engraved by John Raphael Smith after an original painting by Samuel Woodforde R.A.

“1787”

NOTE how Wood-Nymph’s “broad-brimmed gipsy hat” —— is tied down with a lattice-patterned handkerchief under her chin; this is an important detail in ‘The Order of The Bonnet’. 

1825.

An early version of the ‘Bonnet Portrait’ after Samuel Woodforde’s ‘Wood-Nymph’. It dates to the Georgian era; it is dated verso, “1825”. This is the earliest version of the Bonnet ‘type’ portrait I have found-to-date. NOTE that by 1825, the wearer’s headscarf (or “handkerchief”) has evolved into a clearly delineated striped pattern. 

“1825”

I stress, at this stage in the portrait type’s evolution this isn’t a portrait of Emily Brontë —— it can’t possibly be, Emily was born in 1818! —— but this earliest ‘Bonnet Portrait’ proves that the portrait ‘type’ was in circulation (almost certainly in the form of a steel engraving) during the Brontë Sisters’ lifetimes. The evidence points to the fact, that this early ‘Bonnet Portrait’ was copied from an exact template, published as an engraving at or even before the Brontë Sisters were born. I believe that the ‘Bonnet Portrait’ provided the template for the Gypsy scene in ‘Jane Eyre’ —— as well as Charlotte’s ‘lost’ pencil portrait of ‘E M I L Y’. 

The subject’s olive-skin complexion suggests that she’s a Gypsy —— like Emily’s ‘Heathcliff’ —— or indeed a “Sibyl” to quote Charlotte’s “Jane Eyre”! This early 19th Century ‘Bonnet’ —— squarely transports the portrait ‘type’ back-in-time to when the Brontë Sisters were children; Charlotte was born in 1816, Emily in 1818 and Anne in 1820. 

It’s no wonder this portrait feels like peering into a scrying glass that looks backwards as well as forwards. . .

Strangely, both Charlotte’s ‘lost’ pencil portrait of “E M I L Y ” and the “1825” ‘Bonnet Portrait’ —— both share an identical ‘J Whatman’ watermark, “TMAN”; really, one couldn’t make it up!

“TMAN” watermark visible on the back of the 1825 ‘Bonnet Portrait’.

The Elder James Whatman (Born 1702 – Died 1759) is noted for his invention of Wove Paper; both portraits are on ‘J WHATMAN’ watermarked, wove paper. . .

Snap! “TMAN” —— Charlotte’s paper of choice was ‘J Whatman’ wove paper. Indeed a good number of Charlotte’s drawings in the official collection in the Brontë Parsonage Museum in Haworth —— are on ‘J Whatman’ watermarked paper. 

1837.

Detail from a virtually identical ‘Blue Version’ of the Bonnet Portrait’ – minisculely dated “1837” in the folds of the sitter’s cloak. 

“1837” To an untrained eye they could look like four black dots but evidently they are not black dots but a minuscule date “1837”; they’re almost certainly the date this almost identical version was created by the artist. “1837” the ‘black dots’ read from left to right under magnification. 

This ‘pair’ of  original Bonnet ‘type’ portraits were created independently of each other by two different hands, twelve years apart —— yet they are virtually identical in every way. They share the exact same size and proportions down to the nearest millimetre! 

Indeed, one would be forgiven for thinking that the “1837” version is traced from the earlier version because they are so alike —— they’re almost identical twins! One can only conclude, that they are copied from the same source; almost certainly an early 19th century engraving published in the exact ‘Bonnet Portrait’ format —— or composition. It’s all in the detail. . .

This image and all images on this site can be enlarged by simply clicking on the image. Notice these shoulder details (circled in red) —— they’re ‘identical’, which can only mean these two ‘Bonnet’ portraits were meticulously copied from one and the same source; almost certainly a printed engraving of the period.

1847. 

“Jane Eyre” and “Wuthering Heights” were published under Charlotte’s and Emily’s pen names —— Currer and Ellis Bell. . .

Significantly, and in relation to my research about the ‘Bonnet’ —— Emily’s “Wuthering Heights” is set in the very era when the “Gypsy Straw” hat depicted in the Bonnet ‘type’ portrait —— was at its fashion height. “Wuthering Heights” begins at the start of the 19th century but the story —— as narrated retrospectively by Nelly Dean —— is set in the 18th century from the 1770’s.

However, the first real ‘Bonnet’ clue that links the Bonnet ‘type’ portrait with Charlotte Brontë’s hand —— reveals itself in “Jane Eyre”; it’s the Gypsy scene in chapter XIX. . .

The Gypsy Scene in Jane Eyre faithfully depicted by illustrator Jenny Thorne — published by Purnell.

And a colour plate too! The Gypsy Scene in “Jane Eyre” faithfully recreated by illustrator Jenny Thorne — published by Purnell.

“a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin” —— not my choice of words but Charlotte Brontë’s in 1847!

I think that it’s crystal clear from Charlotte’s description of the Gipsy’s hat, and the manner in which it was tied down —— Charlotte Brontë was well-acquainted with the Bonnet ‘type’ portrait. In “Jane Eyre” Charlotte created an image of the ‘Bonnet Portrait’ —— only in words. 

For those unfamiliar with the story-line of ‘Jane Eyre’ —— the Gypsy ‘woman’ is in fact none other than Mr. Rochester! I believe that Mr. Rochester’s cross-dressing antics is another reason for the prejudice that exists —— and persists —— towards the ‘Bonnet Portrait of Emily Brontë’. The idea of Mr Rochester masquerading as a woman in a ‘Gipsy-Straw’ hat, tied down in the exact same fashion as in the ‘Bonnet Portrait’ negatively impacts an already negative association of ideas. It can’t be denied that there’s more than a passing resemblance between the Bonnet ‘type’ portrait and the mental image that Charlotte painted with words —— of Mr Rochester’s beguiling attire; “a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin”. . .

‘The Bonnet Portrait of Emily Brontë’ beside Jenny Thorne’s interpretation of Charlotte’s fortuneteller —— aka Mr Rochester! There is an uncanny likeness!  

Charlotte expands, “…elf-locks bristled out from beneath a white band which passed under her chin, and came half over her cheeks, or rather jaws: her eye confronted me at once, with a bold and direct gaze.” Jane Eyre Chapter XIX —— I mean, Charlotte could so easily be describing this portrait of “E M I L Y”. I’ve ’embroidered’ over “E M I L Y” to make detection easier. 

Despite the evidence, the majority of Brontë fans go on blithely idealizing a portrait of ‘Emily’ that doesn’t challenge their fixed idea that ‘Emily’ was somehow an incontrovertible vision of feminine loveliness. According to myth, Emily Brontë in the flesh —— and soul —— deserves to be the very image of Anne Brontë, complete with neat, coiffured curls and an off-the-shoulder dress!!! Biographer, Virginia Moore eulogises further. . .

From “The Life and Eager Death of Emily Brontë” by Virginia Moore. The last but one paragraph is enough to make one sick; what does “deserves” have to do with it!

Talk about fanciful! To my mind, I can’t imagine that Emily ever agreed to pose for a portrait in a dress that bared her shoulders —— let alone put one on; Emily was too old-fashioned —— too shy and too modest. At heart, Emily was an outdoorsy type who preferred her own company along with the fashions of the previous century; she chose to wear dresses with voluminous leg-of-mutton or gigot sleeves —— not off-the-shoulder dresses that exposed bare skin!

“Portrait of Emily Brontë by Patrick Branwell Brontë.” —— shown here in ‘The Life and Eager Death of Emily Brontë’ – a biography by Virginia Moore – published 1936. The collective conscience of the Brontë Establishment remains totally unconcerned that this portrait that’s purported to be the ‘lost’ portrait of ‘Emily’ —— is 99.9 percent a portrait of Anne Brontë! It does rather seem to be poor Anne Brontë’s lot —— to be permanently consigned to stay in the shadows of her sisters, Charlotte and Emily. It’s so unfair on Anne Brontë —— not to mention the true ‘lost’ portrait of Emily.

This pencil sketch on a scrap of ‘J Whatman’ watermarked paper —— is Charlotte Brontë’s true ‘lost’ portrait of her sister, Emily; indeed I’d stake my life on it. Please believe me — because there’s so much more to this pencil portrait than first meets the beholder’s eye; telling microscopical script within the pencil lines will verify I’m absolutely right about this portrait.  

So what is it with the Brontë Establishment that it persists on being so completely arse about face regarding this matter of great Brontë importance??? By all accounts, by those that actually knew Emily Brontë  —— she was the tallest sister, strong-boned —— even masculine, with a tight-curly, head of hair. Ellen Nussey described Emily’s hair as “unbecoming” —— and a “frizz” —— which suggests it was a bit of a tangle —— indeed like “elf-locks”; no gentle coiffured curls like those in “The Profile Portrait”! And it was Emily’s Belgium teacher, Constantin Héger —— who stated, “She should have been a man”!

It’s reasonable to suppose, outdoorsy Emily was essentially a hat and cloak ‘type’.  I for one, can’t envisage Emily baring her shoulders —— but I can perfectly imagine Charlotte creating a portrait of her sister that has its roots in Samuel Woodforde’s “Wood-Nymph”. The very title, “Wood-Nymph” —— brings to mind a fey, elemental being of earth and air —— and of fire. . .   

Emily’s spiritual transcendence was attained through her affinity with Nature —— whilst day-to-day domestic chores also served to free Emily’s mind beyond the four walls of The Parsonage. Emily Brontë was ever hardworking, down-to-earth and practical yet intellectually and psychically she was a mystic; able to rise above the fetters of her day-to-day existence through exercising mind over matter. Kneading bread, peeling potatoes —— or indeed, gathering a large faggot for the hearth —— weren’t menial drudgery to Emily but further escape mechanisms to her higher self.  

So it should come as no surprise that Charlotte’s first impression of an 18th century engraving of Samuel Woodforde’s “Wood-Nymph” carrying a large faggot for the fire was to proclaim, “Ee bah gum, it’s our ‘E M I L Y’!” 🔥 

Charlotte then proceeded to sketch this “excellent likeness” of her sister. . .

“Ee bah gum, it’s our ‘E M I L Y’!” Artistically speaking, Charlotte Brontë was essentially a meticulous copyist of engravings; it’s also well-documented that she liked to personalise her copies in order to make the subject her own. This is why the ‘Bonnet Portrait’ has become synonymous with Charlotte’s hand over a great many years —— only until now —— no one knew where the original was!

1849

Charlotte Brontë‘s second novel “Shirley” was published in 1849.  Charlotte told her biographer, Mrs. Gaskell —— that the character of ‘Shirley Keeldar’ was based on her sister, Emily —— had Emily been born into a wealthy family. Again, the author makes mention of a “gipsy-straw”; Charlotte is quite specific that Shirley’s (therein Emily’s) hat choice was “a gipsy-straw”. . . 

1855

This version of the ‘Bonnet Portrait’ was created by “J W Moore” in 1855.

Charlotte Bronte died on the 31st. March, 1855; she was the only Sister to experience fame before she died. That said, I don’t doubt that this sweet portrait by “J W Moore” is an early copy of Charlotte’s portrait of Emily. . .

Immediately after Charlotte’s passing, there was a huge influx of interest from outside Haworth – of people desperate to know what the Brontë Sisters looked like. Martha Brown who was a loyal and trusted servant to the Brontë family inherited Charlotte’s “very neatly and boldly” drawn pencil sketch of Emily —— which Martha pronounced an excellent likeness. Martha Brown very much enjoyed her new found celebrity status and was happy to share her hoard of Brontë family portraits and memorabilia with those that came a-calling —— but she was very reluctant to sell any of them.

It’s worth noting here —— that the cloak in the 1855 version of the ‘Bonnet Portrait’ has reverted to red like that in the original ‘Wood-Nymph’ engraving. Two other versions that I attribute to Charlotte Brontë’s hand (based on microsopical findings that are in the pencil version too) also sport red cloaks. . .

A miniature version —— and a ‘full size’ version that’s identical in size to the earlier ‘Blue’ versions. Again, the large ‘red’ version could have been traced from the ‘Blues’ —— except that is, for some telling micoscopical details, such as Emily Brontë’s initials in the eyes. . .  

‘E’ & ‘B’ with the ‘B’ doubling as a heart.

“Pride, temper, derision blent in her large fine eye that had just now the look of a merlin’s.” Charlotte Bronte, of Shirley, Emily Bronte’s prototype.

Based on telltale microscopical findings in all three versions, I believe Charlotte Brontë was completely obsessed with perfecting ‘The Bonnet’; to that end, she created at least three versions including an early miniature in the image of her sister, Emily. 

The miniature ‘Bonnet Portrait’ (circa 1830) next to a 50p piece for size comparison. Before Charlotte Brontë took up her famous novelist’s pen —— she aspired to be a portrait miniaturist.

1872

The Warman ‘Bonnet Portrait. . .Emily Brontë wasn’t famous in her own lifetime but she was in William Warman’s. Listed artist, William Warman (1801 – 1872) was about the business of copying portraits of historic and famous figures; he was essentially a copyist of other artist’s work. His most famous painting is in the National Portrait Gallery’s primary collection; it is a reduced copy after Thomas Sully’s watercolour of Queen Victoria. You can view Warman’s painting here: https://www.npg.org.uk/collections/search/portrait/mw06507/Queen-Victoria  

During the Victorian Era it didn’t get more famous than Queen Victoria, which raises the question —— if William Warman’s version of the ‘Bonnet Portrait’ isn’t a copy of Charlotte’s ‘Bonnet Portrait’ of her sister, Emily – who the ‘eck is it meant to be? Because it’s a Warman, the sitter is almost certainly someone who was recognisable —— even famous —— during Queen Victoria’s reign. I only recognise this portrait ‘type’ as the ‘Bonnet Portrait of Emily Brontë. . .  It’s important to reiterate, William Warman was a copyist of portraits of historic and famous figures. William Warman died in 1872 – so his ‘Bonnet Portrait’ can’t have been copied from the ‘Bonnet’ photogravure that was published in the ‘Woman at Home’ in 1894.  

As said at the start of this section, Emily Brontë wasn’t famous in her own short lifetime but she was in William Warman’s. Even as early as the 1850’s —— the public were desperate to know what the author of ‘Wuthering Heights’ looked like —— indeed they were naturally curious to know what all three novelist sisters looked like; the Victorians were great relic hunters! If one factors in the time-frame of ‘Wuthering Heights’ —— then the ‘Gipsy-Straw’ portrait fits the bill. ‘Wuthering Heights’ begins right at the beginning of the 19th century —— but Nelly Dean’s retrospective narrative starts thirty years earlier. For this reason, Charlotte’s small, very personalised portrait of “E M I L Y” ought to be venerated instead of denounced because it’s an iconic portrayal of the creator of Heathcliff and Catherine —— “E M I L Y” is a nod towards ‘Wuthering Heights’. 

The hat —— the “gipsy-straw” —— ‘The Bonnet’ fits!!!

Martha Brown, who was housekeeper to the Brontë family was only too keen to show off her hoard of Brontë relics including the ‘lost’ portrait of Emily Brontë drawn by Charlotte —— that Martha pronounced “an excellent likeness”.

In order that one gets a grasp of the Brontës’ engravings obsession, it’s important to read this following quote from Mrs Gaskell. . .

 “It is singular how strong a yearning the whole family had towards the art of drawing. Mr. Bronte had been very solicitous to get them good instruction; the girls themselves loved everything connected with it —— all descriptions or engravings of great pictures; and, in default of good ones, they would take and analyse any print or drawing which came in their way, and find out how much thought had gone to its composition, what ideas it was intended to suggest, and what it DID suggest.”

And to better understand Charlotte’s individual drawing technique it’s essential to read a direct quote from page 221 of ‘The art of the Brontës’ by authors, Christine Alexander and Jane Sellars. Obviously, they’re not talking about the ‘Bonnet’ drawing here!!! —— but one can see the same technique at work in the ‘Bonnet’ drawing: “Only the head has been finished; the remainder of the figure shows the work at varying stages of completion, allowing us a clear view of Charlotte’s technique. As in her flower paintings she works in detail first on the head and central feature, then on the remainder of the composition.” 

Page 215 —— “Arthur Adrian Marquis of Douro” drawn by Charlotte Brontë —— from my well-thumbed, signed copy of ‘The Art of the Brontës’ by Christine Alexander and Jane Sellars. Again, highlighted in red this sentence could equally be applied to the ‘Bonnet’ drawing.  

Note how the carefully finished head and neck taper into a sketch from the shoulders. 

1879     

One recorded caller at Martha Brown’s door in Haworth was, Reverend William Robertson Nicoll —— witness to the ‘lost’ portrait of Emily Brontë. Here is his statement, “Portrait of Anne Brontë” —— that’s chiefly about Charlotte’s ‘lost’ pencil portrait of Emily. . . 

Sir William Robertson Nicoll’s statement about the ‘lost’ portrait of Emily Brontë reliably sourced from ‘Under The Bay Tree’, a record of the Robertson Nicoll’s successful married life together by Lady Catherine Robertson Nicoll. ‘Under The Bay Tree’ was published for private circulation only – in 1935, 12 years after Sir William died in 1923. I think “APPENDIX 1” was Lady Catherine’s way of keeping Sir William’s memory of the ‘lost’ portrait alive should it ever be found. I’m quite sure Sir William is turning in his grave at today’s Brontë Establishment —— whose attitude towards the ‘Bonnet’ drawing is one of apathy, antipathy and total disregard. 

Particularly as Sir William Robertson Nicoll was an early president of The Brontë Society. . .

“It is proposed to establish a Brontë Society… The chief desideratum is the excellent pencil sketch of Emily Brontë, drawn by Charlotte, which was in the possession of Martha Brown, the old servant of the family, and is now lost.” I saw it thirteen years ago, and vainly endeavoured to purchase it. I have vainly endeavoured to trace it since.” 
Reverend William Robertson Nicoll, 1893

1894 

In 1894, ‘The Woman at Home’ magazine published this photogravure —— produced by ‘Andre & Sleigh’. . .

Sir William Robertson Nicoll who saw the ‘lost’ portrait of Emily Brontë in Haworth in 1879 – was the founder and Editor-in-Chief of ‘The Woman at Home’. No coincidence I don’t think!

Reaction to the ‘Bonnet’ photogravure that appeared in the ‘Woman at Home’ 1894 edition —— is summed-up by an article published in ‘The Pall Mall Gazette’ for June 22nd. 1894. Contributors to “The Wares of Autolycus” column —— were anonymous, opinionated women writers. . .

Excerpt from “The Wares of Autolycus” Pall Mall Gazette 1894. It should be pointed out, that “Autolycus” (from which the column takes its name) —— was a thief in Greek mythology who stole cattle from his neighbour, Sisyphus —— Autolycus then prevented Sisyphus from recognizing his own livestock by making them invisible.

And thereby hangs a tale! The so-called “reproduction of a copy” that appeared in the ‘Woman at Home’ was caused to become metaphorically invisible in the eyes of the Brontë Establishment —— but the image has refused to go away for good reason(s). . .

I just love how Emily on the Brontë Parsonage wall (circled) looks suitably defiant in this early ‘Walter Scott’ postcard! In the 1960’s ‘Walter Scott of Bradford’ started printing in colour so this b/w postcard of The Bonnell Room pre-dates the 1960’s. 

Looking justly defiant. This sanguine version of ‘The Bonnet’ in ‘The Bonnell Room’ of the Brontë Parsonage Museum in Haworth —— is at home; Henry Houston Bonnell was an important American collector of Brontëana who bequeathed his collection to the museum after his death in 1926 —— including red Emily on’t Parsonage wall’! 

‘On the strength’ of absolutely no proof whatsoever —— ONLY UNFOUNDED OPINIONS —— the ‘Bonnet Portrait’ of Emily Brontë was deemed fake news by 1900. In effect, the ‘Bonnet’ in the ‘Woman at Home’ was cancelled through total ignorance of Charlotte’s ‘lost’ original; it could be said, that the ‘Bonnet Portrait’ was before its time! 

By 1894, the only person that knew for certain that the ‘Bonnet Portrait’ of Emily Brontë did have substance behind it —— was the Editor-in-Chief of the ‘Woman at Home’, Sir William Robertson Nicoll —— one and the same Reverend William Robertson Nicoll who saw the ‘lost’ portrait in 1879, in Haworth. 

Consequentially, Charlotte’s ‘lost’ portrait of her sister, “E M I L Y” —— has been slipping through the auction net for more than a hundred years; if a fairy-tale is to be believed —— then Charlotte’s ‘lost’ drawing of “E M I L Y” is the truest version of ‘Sleeping Beauty’ yet —— and it truly deserves a happy ending!  

The ‘lost’ drawing —— anonymously resurfaced in 2016 —— labelled simply as “Lady with Bonnet”. It turned up in an auction in a mixed, uncatalogued lot —— completely unrecognised and seriously undervalued. 

In 1896, the same “reproduction of a copy” was published once again in ‘The Bookman’ —— only it was described accurately: “EMILY BRONTË, FROM A PORTRAIT DRAWN BY CHARLOTTE”. . .

“EMILY BRONTË, FROM A PORTRAIT DRAWN BY CHARLOTTE” —— Sir William Robertson Nicoll founded ‘THE BOOKMAN’ in 1891.

The ‘Bonnet Portrait’ of Emily Brontë illustrated an article by Clement Shorter —— titled “Mrs Gaskell and Charlotte Brontë”. This suggests that at one time ‘Bonnet’ dissenter, Clement Shorter —— believed that the ‘Bonnet Portrait’ had substance to it. That said, it’s also possible that Sir William Robertson Nicoll in his position as founder and editor of ‘The Bookman’ —— overrode Shorter. 

It’s important to remember, Clement Shorter was a literary critic —— no art expert! Driven by greed —— Shorter was the henchman of Brontë villain, Thomas J Wise —— forger and one-time President of the Brontë Society!!! Between Shorter and Wise, they set about acquiring as many Brontë manuscripts and other Brontë relics they could get their hands on —— often immorally! For instance, Ellen Nussey was pressured by Shorter into selling her personal collection of ‘priceless’ letters from Charlotte —— with the proviso —— nay promise —— that they would be placed in a museum; instead Shorter passed them straight to T J Wise who sold them to the highest bidder.

Shorter, frustrated and unable to trace the ‘lost’ portrait of Emily Brontë for himself or Wise —— wrote-off the ‘Bonnet Portrait’ as follows, “The supposed portrait which appeared in The Woman at Home for July 1894 is now known to have been merely an illustration from a ‘Book of Beauty’ and entirely spurious.” Charlotte Brontë and her Circle, 1896.

Of course, Shorter knew no such thing because he was unable to back-up his dismissal of the 1894 ‘Bonnet’ photogravure with the exact ‘Book of Beauty’ that allegedly contained the so-called spurious illustration. However, the coming to light of the “1825” and “1837” original versions of the ‘Bonnet’ —— which are all but identical, suggest that there is a small element of truth in Shorter’s statement —— that works in favour of the ‘Bonnet’!

This ‘pair’ are so obviously copied from one and the same ‘illustration’; not from a photogravure in a ‘Book of Beauty’ from the late-Victorian era as implied by Clement Shorter but from a steel engraving in a book considerably older —— even late-Georgian, title unknown-to-date. However, where the ‘Bonnet Portrait of Emily Brontë’ is concerned —— my motto remains firm, ‘Cerca Trova’ —— ‘Seek and You Shall Find’; and I will! Truth always comes to light eventually. 

My theory explains why the ‘Bonnet Portrait’ provided the basis for the portrait that I’ve identified as “E M I L Y” —— and attribute to the hand of Charlotte Brontë —— aka it’s the ‘lost’ portrait of Emily Brontë.

Where Clement Shorter’s knowledge of all things relating to Emily Brontë is concerned —— I take my cue from playwright and novelist, Charles Morgan —— who summed-up Clement Shorter in a word!!! —— conveniently highlighted in red at the foot of this page. . .

Page 65 ‘The Great Victorians’ published in 1932. From an essay about Emily Brontë by Charles Morgan. This volume also contains a chapter about Charlotte Brontë written by Rebecca West.  

Enough about the obtuse one!

Moving on. . .

1933

Courtesy of ‘The British Library’.

On Monday, December 18th, 1933 —— a portrait drawn by Charlotte of her sister, Emily —— was auctioned at Sotheby’s, London.

Lot 115 is described as “a small parcel”. The portrait was the property of “E. B. Haynes, Esq., of King’s Holt, Gomshall, Surrey”; Lot 115 was bought by a buyer called ‘Halliday’. . .

Annotated page from Sotheby’s Catalogue – courtesy of ‘The British Library’ – it’s this sentence that strikes a chord with the ‘Bonnet’.

“a photogravure of the same, proof” —— is proof that the “original drawing of Emily Brontë by her sister Charlotte” that was sold at Sotheby’s in 1933 was REPRODUCED IN PRINT. The sale catalogue didn’t include an image of the portrait in question, but it’s almost certainly the ‘Bonnet Portrait’ of Emily Brontë because it’s the only portrait of Emily by Charlotte that’s been repeatedly published in print —— in spite of what the Brontë Establishment think to the contrary about the portrait ‘type’. 

My riposte to the Brontë Establishment, is you can’t keep an honest portrait down!

My research may or may not be taken as evidence that the ‘Bonnet’ drawing is an authentic ‘lost’ artwork by Charlotte Bronte but all things considered it adds up to more than a suggestion that the drawing is genuine. It’s true that the drawing lacks provenance but microscopical evidence contained in the pencil lines themselves could ‘easily’ be brought to light with the help of science —— and the co-operation of the Brontë Establishment!!! It’s like I’ve said before, and will reiterate again —— if the ‘lost’ portrait of Emily Brontë came with a complete history of provenance tracing it all the way back to Haworth Parsonage —— it would never have been lost in’t first place!!!

Of course, there is one very ‘obvious’ clue that the ‘Bonnet’ drawing is genuine and that’s “E M I L Y”; it’s Charlotte’s own unique signature or ‘watermark’ that guarantees that the drawing is by her hand. . .

“E M I L Y” is a big clue.

Charlotte’s 19th century ‘WordArt’ is a unique artistic trait that I’ve identified and highlighted in more than one authenticated artwork in the official Brontë collection in Haworth —— as demonstrated in these three previous posts:

“Spelling It Out: The Art of Steganography In The Art Of Charlotte Brontë.”  

“A ‘Sketch’ That Points to The Hand of Emily Brontë.”

“The ‘Lost’ Portrait of Emily Brontë: Charlotte’s Name Game Uncovered.” 

Despite the fact that the ‘Bonnet Portrait’ of Emily Brontë got cancelled (to use modern-day parlance!) more than a century ago —— it’s been making an indelible impression ever since; on the covers of books, in magazine and newspaper articles and there’s even a postcard. . .

‘The Bonnet Portrait of Emily Brontë’ printed in A. E. Hall’s ‘A Guide to Haworth’ — published circa 1900 to 1910.

And again, on a postcard published by ‘A. E. Hall’ circa 1900 – 1904.

Complete with a postmark verso for “HAWORTH, 7th. July 1904”.

The Life and Private History of Emily Jane Brontë | Author, Romer Wilson | Publisher, Albert and Charles Boni | Publication Date, 1928.

Left: The Brontë Novels | Author, W.A. Craik | Publisher, Methuen & Co LTD | Publication date, 1971 || Centre: Profiles in Literature — Emily and Anne Brontë | Author, WH Stevenson | Publisher, Routledge & Kegan Paul LTD | Publication date, 1968 || Right: Wuthering Heights | Author, Emily Brontë | Publisher, Longman, Green and Co LTD | Publication date, 1967 edition ||

Relatively recent Newspaper articles from The Guardian, The Times and The Sun —— including a bicentenary article in ‘The Times’ marking Emily Brontë‘s 200th birthday in 2018. 

All my ‘Bonnet’ findings are dedicated to the memory of Professor Christopher Heywood —— keeper of ‘The Evergreen Bonnet Portrait of Emily Brontë’ from 2011 to 2021. The painting is now in an unbeknownst private collection. Needless to say, Christopher’s belief in the ‘Bonnet Portrait of Emily Brontë’ is eternal.  

Q.“Magic mirror on the wall, who’s the fairest ‘Bonnet’ of all?” A. “E M I L Y”

A leisurely linear walk of many deliberate stops and starts over the great whale-back of ‘Great Nodden’ —— and back again —— Saturday, 10th. September 2022. . .An uninterrupted view westwards from the slopes of Great Nodden —— over a swath of purple Heather to Bodmin Moor in the distance. . .And later, awestruck by Jupiter —— and September’s Harvest Moon over Arms Tor —— rising East of ‘Great Nodden’. . .A partial Sun-dog or Parhelion appeared in the late afternoon sky; indeed it was the second Sun-Dog I’d seen above Dartmoor in less than two weeks. I believe witnessing a Sun-Dog is ever a good sign!

‘As above, so below.’ A semi Parhelion above Sousson’s Bronze Age Stone Circle – Saturday, 30th. August 2022.

In 1847, the Brontë Sisters saw a full parhelion above Haworth Moor – probably like this one witnessed in 1860 by “Revd E Meyrick”. . .

A wondrous Parhelion at Chiseldon 25th. June 1860 —— courtesy of ‘The Official Bonnet Collection’!

Verso.

The Brontë Sisters’ dearest friend, Ellen Nussey —— whom Charlotte called, “My Kindred” because she was like a sister to Charlotte —— witnessed the celestial phenomenon too; she remarked that ‘The Three Suns’ were Charlotte, Emily and Anne.

‘Three Suns’ directed by Sally Wainwright in ‘To Walk Invisible’ —— a brilliant film made for British television —— about the extraordinary lives of the Brontë Sisters and their brother, Branwell.

‘Three Suns’. A beautiful Fine Art Giclée Print on Watercolour Paper of The Brontë Sisters by Canadian Artist, Elizabeth Lennox —— “Duchess of Lore” available on Etsy.

So whenever I see a hint of a parhelion —— I naturally think that the Brontë Sisters are telling me that I’m on the right track; I definitely was last Saturday. . .

Immediately before setting off for Dartmoor that very same afternoon, I secured a new ‘Bonnet’ for ‘The Collection’! —— tangible evidence that bears a significant date “1825”.

“1825”

What this date means is that the exact Bonnet ‘type’ portrait existed during the late Georgian period when the Brontë Sisters were aged only nine, seven and five respectively. My latest ‘Bonnet’ acquisition is not a portrait of Emily Brontë for sure —— it can’t possibly be —— but the subject does prove that the exact Bonnet ‘type’ portrait was in circulation during the Brontë Sisters’ lifetimes. . .

You see, this is so much more than just a portrait of an anonymous dark-haired woman that first meets your eyes. Note how she’s wearing —— “a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin” —— these are not my choice of words but Charlotte Brontë’s in 1847! Twenty-two years after this ‘Bonnet Portrait’ was created in 1825.

The Gypsy Scene in ‘Jane Eyre’ faithfully depicted by illustrator Jenny Thorne — for Purnell Books, published in 1976.

And again, a colour version by illustrator Jenny Thorne — for Purnell Books, published in 1976. Jenny Thorne has interpreted Charlotte Bronte’s words to a tee. 

It’s evidently clear from these wonderful illustrations that Charlotte Brontë had a very definite picture in her head when she wrote —— “a broad-brimmed gipsy hat, tied down with a striped handkerchief under the chin”. Or put another way, Charlotte Brontë knew the Bonnet ‘type’ portrait; it’s so obvious from the picture she painted of the Gypsy ‘woman’ —— only in HER words. For those unfamiliar with the story-line of ‘Jane Eyre’ —— the Gypsy woman is in fact Mr. Rochester dressed-up in women’s clothes! Maybe another reason for the prejudice that exists —— and persists —— towards the ‘Bonnet Portrait of Emily Brontë’. The Brontë expert that judged the pencil portrait in 2019 —— described it as a “grotesque” drawing which was/is neither true nor fair, let alone constructive or unbiased. Needless to say, the Brontë Establishment don’t like ‘The Bonnet’.

Undoubtedly, the Bonnet ‘type’ portrait in all its versions is derived from an engraving called ‘Wood-Nymph’ published in 1787 after Samuel Woodforde’s original. That’s Samuel Woodforde R.A. —— 29 March 1763 – 27 July 1817  

And remember, there was no ‘Google Images’ or ‘Google Lens’ back in the late 18th and early 19th centuries!!! —— so my latest ‘Bonnet’ portrait can only have been copied from a publication such as a book, magazine or newspaper of the period. I deduce this because there’s an exact same original copy of the “1825” ‘Bonnet’ in ‘The Official Bonnet Collection’; it bears a truly minuscule date “1837” —— that’s only visible with magnification. . .

“1837”

The area of the date “1837” —— that without magnification looks like four black dots!

This surely confirms that the Bonnet ‘type’ portrait was reproduced in ‘black and white’ as an engraving —— and would have been in circulation at the time the Brontë Sisters were still young children —— let alone when they were young adult copyists! Otherwise, how else can one explain how two almost identical portraits —— dated twelve years apart —— were painted by two different hands in the early part of the 19th century?My latest discovery is provenance of a sort —— because it takes the 1894 photogravure that appeared in the ‘Woman at Home’ magazine back to a period in time when the Brontës were alive, actively copying engravings.

Left: A portrait of “Emily Brontë” that appeared in a 1894 edition of the ‘Woman at Home’. Right: Original Bonnet ‘type’ portrait dated verso “1825”.

The Editor-in-Chief of the ‘Woman at Home’ was none other than the man who saw the ‘lost’ portrait of Emily Brontë drawn by Charlotte in 1879. His name was Sir William Robertson Nicoll. 

Come early adulthood, Charlotte’s serious intention was to be a portraitist. She skillfully painted in watercolour but her pencil sketches were her forte! She honed her skill with a graphite pencil by meticulously copying published engravings. Many of her drawings (and paintings) as featured in the official catalogue raisonné ‘The Art of The Brontes’ compiled by Christine Alexander and Jane Sellars —— are meticulous copies of published engravings by listed artists; Charlotte was essentially a copyist. Meticulously copying engravings was what Charlotte was at —— yet evidently too according to the catalogue raisonné —— she very often personalised her portraits in order to make the subject matter her own. Many of Charlotte’s artworks are lifted from published works of the period, such as Byron’s Poetical Works. In my field of Brontë study, it’s an interesting exercise to compare and spot the subtle differences that Charlotte made.  Here are some of Charlotte’s copies and the original engravings that they were so obviously copied from. . .

Below: ‘English Lady’ by Charlotte Bronte ( as listed in the catalogue raisonné, ‘The Art of The Brontes’ compiled by Christine Alexander and Jane Sellars ) copied from an engraving in Byron’s Poetical Works.

Below: ‘The Maid of Saragoza’ by Charlotte Bronte ( as listed in the catalogue raisonné, ‘The Art of The Brontes’ compiled by Christine Alexander and Jane Sellars ) copied from an engraving in Byron’s Poetical Works.

Left: Frontispiece in the ‘Forget Me Not’ Annual for the year 1831 —— Right: Charlotte Brontë’s copy as listed in the catalogue raisonné, ‘The Art of The Brontës’ compiled by Christine Alexander and Jane Sellars. Notice how the cloud is gone, replaced by terra firma in Charlotte’s otherwise meticulous copy.

There’s a watercolour painting in ‘The Official Bonnet Collection’ too —— that I attribute to the meticulous hand of Charlotte Brontë —— it’s a copy after Sir Thomas Lawrence’s portrait of vicar’s daughter Emily Anderson, otherwise called, ‘Little Red Riding Hood’. . .

It’s after a frontispiece copper-plate engraving in ‘The Literary Souvenir New Year’s Gift’ for the year 1832. This is the very painting that started my ‘Bonnet’ quest in 2008 only I didn’t know it at the time. The ‘Bonnet’ didn’t land in my lap so to speak until 2016!  

It’s all in the detail if only the experts knew!! ‘Sketches of a leaf and tiny face’ —— listed in in the catalogue raisonné, ‘The Art of The Brontës’ compiled by Christine Alexander and Jane Sellars. There’s so much more to Charlotte Bronte’s drawings; it’s all in the pencil lines themselves. 

All the pieces of the ‘Bonnet’ puzzle I have gathered together thus far —— leave me in no doubt whatsoever that the pencil portrait that I have identified as the long ‘lost’ portrait of ‘Emily Brontë’ —— as seen by Sir William Robertson Nicoll in Haworth in 1879 —— is an original artwork by Charlotte Brontë. I propose Charlotte copied her interpretation of the Bonnet Portrait ‘type’ from the exact same source that my latest acquisition —— that’s clearly dated verso “1825” —— was copied. Or just maybe the 1825 ‘Bonnet’ is the original ‘Bonnet Portrait’ that started the ‘Bonnet Line’ from which Charlotte’s pencil portrait of ‘E M I L Y’ is ascended! 

This ‘pair’ are like identical twins created twelve years apart! —— they are like mirror images! 

The “1825” version (framed) and the “1837” version are virtually one and the same painting —— including in size —— its like they were traced one from the other —— but more probably copied from an engraving in a book, newspaper or magazine.

The true Bonnet Portrait; namely the long ‘lost’ pencil portrait of Emily Brontë drawn by Charlotte is genuine. Charlotte’s ‘Bonnet Portrait’ of Emily even bears the sitter’s name ‘E M I L Y’ —— plus a minuscule artist’s signature “C BRONTË”. This is exactly what I mean when I say Charlotte personalised her otherwise meticulous copies. 

Turning again to Saturday’s Sun-Dog sighting in relation to our dearly departed Queen —— and those reassuring, heaven-sent rainbows that appeared simultaneously over Buckingham Palace and Windsor Castle following the announcement of her death on Thursday, 8th September 2022 —— I believe they were no coincidence either! Our gracious Queen ‘left the room’ —— she left her beloved castle(s) —— she departed this mortal life —— but in true Queen Elizabeth II style she sent us ALL ‘one’ everlasting message of Hope🌈

I believe Saturday’s hint of a Sun-Dog was a ‘little’ celestial nod in the right direction from those same ‘Three Suns’ that Ellen Nussey described. . .

To this day, the Brontë Sisters’ literary legacy shines ever brightly. . .

However, my ‘chosen’ area of Brontë study isn’t their novels but ‘The ‘lost’ portrait of Emily Brontë’ ——informally called ‘The Bonnet’!!! The portrait ‘type’ was wrongly cast out a century ago and has remained a grey area ever since. The Bonnet ‘type’ Portrait remains broadly unloved, unrecognised and undervalued.

The pencil portrait has taught me to ‘read’ Charlotte’s hand from a totally non-literary perspective; as in I know that Charlotte’s secret ‘WordArt’ is key to it’s authentication —— if only the Brontë Establishment would stop fooling themselves that they can’t see ‘E M I L Y’ in the folds of the sitter’s cloak. . .

The ‘lost’ portrait of Emily Brontë. Right, I’ve simply edited out the grey areas then highlighted ‘E M I L Y’ in yellow in order to aid easy detection. 

That all said and done, Charlotte’s novels ‘Jane Eyre’ and ‘Shirley’ contain helpful clues about the identity of Charlotte’s very personalised pencil version of the ‘Bonnet Portrait’ too —— see this earlier post: http://somethingaboutdartmoor.com/2020/05/22/charlotte-bronte-novelist-portraitist-poet-weaver/

The truth —— the evidence —— exists in the pencil portrait itself.

10th September 2022. Last Saturday’s Sun-Dog and a faint outline of Bodmin Moor in the distance.

The Sun-Dog’s appearance confirmed to me that I’d made the right decision to buy another piece of the ‘Bonnet’ puzzle earlier that same afternoon even though I couldn’t well afford to buy it! My conviction in the ‘Bonnet Portrait’ is absolute —— indeed, it’s like this Bible quote says, “Now faith is the substance of things hoped for, the evidence of things not seen.”

Reminders on the wall to keep the faith —— as if I need reminding!!! 

And though the hierarchical Brontë Establishment frown witheringly on my ‘Bonnet’ research and refuse to open their minds —— eyes —— and hearts —— to the truth that the pencil drawing is the true ‘lost’ portrait of Emily Brontë, drawn by Charlotte —— as seen by Sir William Robertson Nicoll in Haworth in 1879 —— there’s someone ‘up there’ much, much higher who knows that what I say about ‘The Bonnet’ is right. Maybe last Saturday’s Parhelion was a sign from Sir William himself!🌈 

It’s worth remembering too, that Martha Brown who was the original keeper of the ‘lost’ portrait of Emily Brontë, told Sir William Robertson Nicoll that the pencil portrait that she owned —— and that was ‘lost’ following her death in 1880 —— was a good likeness of Emily.

I say to Non-Believers of ‘The Order of the Bonnet’ —— Science will one day prove that the pencil portrait is genuine. So please believe me when I tell you that there’s so much more to Charlotte’s, Branwell’s, Emily’s and Anne’s Art in the form of thousands of teeny-weeny numbers —— if only the experts could be persuaded to listen and to look!!! It would make a wonderful episode for the BBC’s [“Fake or Fortune”] particularly as I clearly remember Fiona Bruce saying in series 4, episode 3 —— “A Mystery Old Master” that one of her favourite novels is ‘Jane Eyre’. Oh how I wish for Fiona Bruce to get her teeth into ‘The Bonnet’ —— but I digress!!! 

From ‘EMILY BRONTË’ a biography by Charles Simpson. As you can see from the text below the image, Ellen Nussey —— remember she was Charlotte’s best “kindred“ —— identified the “BRONTË GROUP” from left to right. Emily is seated left of the group and is initialed “EJB” for Emily Jane Brontë. For easier reading this image and ALL other images can be enlarged by clicking on them.

As a simple experiment in ‘cut and paste’ I have stripped away Emily’s bonnet and cloak and pasted her unbonneted, naked face over the figure marked “EJB” by Ellen Nussey. I think it is plain to see that the planes of the ‘Bonnet’ Face’ are startlingly alike Branwell’s portrait of Emily in ‘The Pillar Portrait’ in the National Collection. 

As it was Charlotte who famously described her sister Emily as a “homebred country girl” —— is it any wonder that Charlotte used the Bonnet ‘type’ portrait as a template to capture the essence of ‘E M I L Y’ as she saw her? If that was the way that Charlotte perceived her own sister the hat surely fits —— nay the bonnet fits!

There are many Emily Brontë aficionados who view Charlotte’s description of her middle sister, Emily —— as a “homebred country girl” —— as an unforgivable besmirchment of Emily’s literary prowess. That ‘superior’ older sister, Charlotte —— should brand the genius author of ‘Wuthering Heights’ as some sort of rustic —— only adds to the very real bias that exists against ‘The Bonnet’.  

It really ought not be too hard to visualize Emily as an essentially hat and cloak ‘type’ person. After all, her spiritual transcendence was reached through purposefully roaming over the moors in all weathers —— or through doing domestic chores —— such as baking bread, peeling potatoes, and bringing in a faggot for the hearth. . .

Any suggestion that a “broad-brimmed gipsy hat, tied down with a striped handkerchief” under your chin —— somehow obstructs the wearer’s ability to put mind over matter —— ought to go try one for size; it’s really quite liberating!

I think Emily’s home-loving nature and wild-side  inspired Charlotte to create a portrait that’s got Emily’s intrinsicness literally written right through the heart of it! Emily’s only novel ‘Wuthering Heights’ is set in the very time frame when the ‘Gypsy Hat’ fashion was at it’s height —— in the latter half of the Georgian era. . .

Another reason perhaps —— why Charlotte might have been inspired to create a portrait of Emily that reached back into the 18th century.   For enlightenment, take another long, hard look at this 1787 engraving of Samuel Woodforde’s ‘Wood-Nymph’ next to ‘The Bonnet’. . .  

Try to view the pencil portrait of ‘E M I L Y’ through Charlotte’s eyes —— instead of how you’ve been conditioned to view it by the Brontë Establishment who have poured scorn on the ‘Bonnet Portrait’ of Emily Brontë for more than a century —— by wrongly branding it a fake portrait but with no sound reason(s). I can assure you dear reader on behalf of the person that drew it —— that it isn’t fake.

My next post about ‘The ‘lost’ Portrait of Emily Brontë’ aka ‘The Bonnet’!!! —— will simply chronicle all my ‘Bonnet’ related finds-to-date and it will be titled: Q.“Magic mirror on the wall, who’s the fairest ‘Bonnet’ of all?”

A. E M I L Y

A few more magical captures from Dartmoor —— Saturday, 10th September 2022. . .

Sunday, 12th June 2022. A purposeful walk to visit an old familiar face — Fur Tor or ‘Far Tor’ — Dartmoor’s remotest Tor.

Also known as ‘The Queen of the Moor’.

🕐 Starting at 13:00 from Lane End car park via the awesome Tavy Cleave. Back at precisely 22:00 🕙

Fur Tor takes a bit of reaching as ‘The Queen’ of Dartmoor’s Tors is fortified by blanket bog and rivers — all of which have to be negotiated.

Needless to say the ‘Queen of the Moor’ enjoyed an audience of only ‘three’ that afternoon!

Emily came along for the ride!

And NO! — I wasn’t even half tempted to take this huge bovine skull home in my rucksack to add to my bone collection. I hope that it will always be left to rest in peace on Cut Hill — where its spirit departed and roams still; it belongs there — with all the other weathered bones that lie scattered about the peat hags. Cut Hill is a bleak place with it’s own special beauty — and the 360° views it offers over Dartmoor and beyond — are well worth going the extra mile for.

At the heart of Fur Tor’s main rock stack.

Circular ‘Ten Tors’ walk to ‘The Beardown Man’ with Tom — and Emily! 

Friday, 3rd June 2022 🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧🇬🇧

🕒 Starting from Holming Beam — to the heights of all three Beardown Tors — Lydford Tor — ‘nameless tor’ — Beardown Man  — Devil’s Tor — across the high Moor to Rough Tor — Crow Tor — cross the West Dart river to Longaford Tor, Littaford Tors — skirting the length of Wistman’s Wood — crossing back over the West Dart 💦 — back up steep incline to Beardown Tors — arriving at Holming Beam at 🕙🌙

The Beardown Man is a lonesome Bronze Age menhir or standing stone — that stands in perfect isolation beside Devil’s Tor —— ‘Fur Tor’ on the horizon. I believe that the standing stone measures 11 foot in height; one can only imagine how many more feet are beneath the ground! It’s truly awesome to behold.

The Beardown Man magickally changes shape from which ever angle and perspective one looks at it. . .Away from the madding crowd — we celebrated the Queen’s Platinum Jubilee with a Belgium Bun at the standing stone!

Apart from cows and sheep — we had all of the Tors and moorland in-between to ourselves.

And the Ravens were expecting me at Crow Tor — with a gift of a beautiful, freshly dropped pristine feather.🖤

‘Nameless Tor’

Rough Tor – aptly named as the going gets a bit rough round here!

Characterful Crow Tor

Buller’s Stone or Druid’s Stone, Wistman’s Wood. Crow Tor now on the far horizon.

‘Old Friend’ Tom at the Beardown Man in 2022.

And in 2009 – aged nine!

‘Sign of our times’ caught in my headlights near Bellever Forest on my drive home.

A perfectly Beary souvenir “Thank you for everything” by Lucy Claire Illustrations. To celebrate our walk to ‘The Beardown Man’ on the occasion of the Queen’s Platinum Jubilee weekend. 

A rite of passage for ‘The Bonnet Portrait of Emily Brontë’ —— posted at Summer Solstice. . .

A purposeful evening meander to Dartmoor’s ancient, magickal —— curative —— purifying Tolmen Stone. . .

And Shovel Down Stone Avenue. . .And Kes Tor’s rock basin. . .

Kes Tor Rock. 

And an ‘after hours’ flying visit to Dartmoor’s only Dolmen —— to ‘Spinster’s Rock’ near Drewsteignton; “The village of the Druids on the River Teign”. . .

The legend goes that three exceptional women re-erected the ancient Dolmen after it collapsed in 1862; the capstone alone is estimated to weigh 16 tons so no mean —— or maen feat! The legend doesn’t divulge the women’s marital status —— only that they were spinners and weavers of yarn! —— hence its name ‘Spinster’s Rock’. I like to imagine that the spirits of Charlotte, Emily and Anne had a hand!

A giant orb captured floating above the Dolmen’s capstone; I also picked-up a lucky black feather —— ever an auspicious sign!

Giant Orb above the Dolmen near Drewsteighton – Tuesday, 31st May 2022.

Tale(s) of the unexpected. ‘The Witchcraft and Folklore of Dartmoor’ by Ruth E. St.Leger-Gordon – my go-to book of ‘the moment’! It’s a great source of inspiration by a local writer with a ‘surprising’ Yorkshire twist! 

One couldn’t make this fantastic-all stuff up! It’s official, Jane Eyre, The Brontë Sisters and Dartmoor ARE linked!

In case you haven’t gathered, this blogpost is about my love of Dartmoor’s ways —— and how the Moor’s ancient landscape and the things I discover in connection —— feed and sustain my unwavering belief in Charlotte Brontë’s long ‘lost’ portrait of her sister, Emily. Stones as big as boulders, upstanding stones and whole towering Granite stacks —— known as Tors —— are witnesses to ‘The Bonnet Portrait of Emily Brontë’. . .

Rock! Paper! Truth. Emily leaning on Scorhill’s main maen for support! It is the tallest standing stone in the sacred circle and measures eight feet above ground! And if you are wondering about my ‘wrong’ spelling; ‘Maen’ is Celtic for stone!

Characterful Steng-a-Tor even looks like it is wearing a big bonnet in support of ‘The Bonnet’!

‘Great Links’ —— this Tor’s actual name and there evidently ARE!

Let There Be Light. Rubber-stamped paper copy of the true ‘lost’ portrait of Emily Brontë inside Fur Tor’s main rock stack. ‘Fur Tor’ or ‘Far Tor’ or ‘Queen of Dartmoor’ —— is Dartmoor’s remotest Tor, and therefore demands a degree of determination to get there. 

Telling Dartmoor’s Knowstones about Charlotte Brontë’s long ‘lost’ pencil sketch of her sister, Emily —— is a fortifying exercise; in contrast to telling the Brontë Establishment —— who can’t be asked to listen! Nay won’t listen.

Puzzles me why Brontëites insist on idolising —— nay idealising —— a misidentified portrait of ‘Emily’ Brontë? —— that’s in fact a portrait of Anne Brontë painted by Branwell! Oh dear —— it does seem to be poor Anne’s lot to be permanently consigned to stay in the shadow of her sister(s).

Right: The wrong ‘lost’ portrait of ‘Emily’ in the National Collection. The whole ‘lost’ portrait mix-up is a crazy impasse caused by misidentification a long time ago; the sitter isn’t Emily but Anne Brontë. 

And then there’s the absurd adoration of the daguerreotype photograph of three ‘nameless’ Victorian women that made a habit of posing as the Brontë Sisters. . .

Left. These are the exact same three women as those seen posing as the Brontë Sisters in the romanticized daguerreotype image. This particular ‘Carte de Visite’ or ‘cabinet card’ dates to circa 1860 at the earliest by which time the real Brontë Sisters were all sadly deceased. The daguerreotype is a fake.

Meantime, this is the real ‘lost’ portrait of Emily Brontë drawn by Charlotte that remains erroneously cast out. 

It is a portrait that has suffered unfairly at the hands of fate – but more so at the hands of the Brontë Establishment who are in complete denial that it is a portrait of “E-M-I-L-Y” by Charlotte. In their eyes, the portrait doesn’t appeal to their sensitivities about Emily’s supposed appearance so they have put themselves above the artist that drew it —— like they know better than Charlotte Brontë did! I ask, when did the Brontë Establishment assume ownership of the Charlotte, Emily and Anne? 

I KNOW that the so-called expert(s) that ‘looked’ at the drawing in 2019 —— didn’t examine it. Their preconceived opinion of the 1894 photogravure in the ‘Woman at Home’ blinded them to reason – to the point that they didn’t once use magnification or a slant of bright light to get at the truth. The portrait bears a microscopical signature, “C BRONTË”. 

“E-M-I-L-Y” did not get a fair hearing because the individual(s) that judged the drawing refused to see beyond their own deep-seated loathing of the portrait ‘type’; the drawing’s intrinsic originality was completely overlooked. Indeed, their conclusion that the drawing is “stylistically incorrect” for a Charlotte Brontë attribution —— was nothing less than a lie of convenience to silence the ‘Bonnet’ permanently. Just as well then that the ‘lost’ portrait of Emily Brontë found its voice in me. . . 

From left to right. The folds in Emily’s drapery clearly and boldly identify the sitter as “E-M-I-L-Y”. The edited image on the right has only had the ‘grey areas’ removed in order to expose the ‘folds’ that spell out the subject’s name “E-M-I-L-Y”.

“E-M-I-L-Y” highlighted in yellow.

Despite the fact that the ‘Bonnet Portrait’ of Emily Brontë is a recognisable portrait ‘type’ with a long history of a hundred years plus —— the portrait ‘type’ remains broadly unrecognised by those that don’t share an interest in Brontë matters; it’s no wonder then that the drawing is a ‘sleeper’ with more than just one meaning. A ‘sleeper’ in the world of buying and selling antiques is an artwork (or antique item) that has slipped through the auction net undetected due to an expert’s oversight —— and consequently is undersold. The ‘lost’ portrait of Emily Brontë is a true, modern-day ‘Sleeping Beauty’ —— whose story demands to be told. . . 

The ‘Bonnet Portrait of Emily Brontë photogravure published in 1894 and 1896 respectively. Whose Editor-In-Chief just ‘happened to be’ one and the same, Sir William Robertson Nicoll —— who saw the ‘lost’ portrait of Emily Brontë – drawn by her sister Charlotte, when he visited the Brontë family’s faithful servant, Martha Brown in 1879. 

In 2016, the ‘lost’ portrait of Emily Brontë miraculously found its way into my hands —— but alas a 122 year interim period of unchallenged antipathy towards the 1894 ‘Woman at Home’ photogravure proceeded the ‘lost’ portrait’s discovery. Honestly, Brontëites the World over have been seriously and historically misled!

Once upon a time, an original sanguine version of the ‘Bonnet Portrait of Emily Bronte’ hung on the Parsonage Museum wall beside Henry Houston Bonnell (seen right) the very gentleman who bequeathed the portrait to the museum. Bonnell was an important American collector of Bronteana who bequeathed his collection to the museum after his death in 1926.  

Sadly, today’s Brontë Establishment regard the original ‘Bonnet’ drawing, ‘The Woman at Home’ photogravure —— and their own version of the portrait ‘type’ —— all in a very unfavourable light.

It’s no wonder then that ‘Emily on the Parsonage Wall’ looked so up for the challenge ahead! On the two occasions that I visited the museum in 2017 and 2019, I have absolutely no recollection of seeing Emily’s striking red or sanguine portrait on the wall, not even in the modern-day ‘Bonnell Room’. No doubt it’s been put in storage – effectively filed. 

In an effort to ‘return to sender(s)’ the ill thought that persists towards Charlotte’s ‘lost’ drawing of her sister, Emily —— a virtual image of the original drawing was successfully threaded through the purifying Tolmen Stone. . .The hole caused by thousands and thousands of years of water erosion —— is large enough for a full-grown adult to climb through with room to spare; it is believed to be a cure for rheumatics also! The Druids used the hole for purification – and it is in that same spirit that Emily’s virtual image was passed through the hole; a rebirth! Understand that the original drawing is pure —— it’s as genuine as the day is long; it is the ‘hundred year old’ curse on the portrait ‘type’ that required urgent cleansing! 

It’s a simple fact that after one-hundred-and-twenty-eight years of rejection —— the portrait ‘type’ continues to defy the odds stacked against it; one only need type “Emily Brontë” into Google’s search engine —— to verify this. The World’s most popular search engine places ‘The Bonnet’ in pole position on their overview page of an Internet search of “Emily Brontë” —— which speaks volumes above the Brontë Establishment’s conspiracy of silence to keep the lid on the portrait ‘type’. ‘The Bonnet’ refuses to be silenced for the pure and simple and honest reason that it is genuine.

Indeed, if the Truth about the ‘Bonnet Portrait’ was audible ——— it would sound like the North Teign thundering through the Tolmen Stone in full spate!!! Just listen to the proof right at the very end of this post to listen! Meantime, here’s Google’s reeeesult! Tuesday, 21st June 2022. . .

Highlighted screenshot. Google search engine result “Emily Bronte” Tuesday, 21st June 2022

For all these reasons and more —— I promise to continue with my ‘madcap’ actions in defense of ‘The Bonnet’!!! —— because Charlotte’s small, pencilled ‘square’ of ‘J Whatman’ watermarked paper has enriched my life beyond the portrait’s ineffaceable true worth. Indeed, the Brontë Establishment’s historical denial of ‘The Bonnet Portrait’ drawing —— and all its versions —— is wholly their lose.

If it wasn’t for “E-M-I-L-Y” —— I’d never have got to know enlightened retired Professor of Literature, Christopher Heywood. Or held his beloved £25k “twinnie” of Emily Brontë in my hands; that’s how much Christopher believed in ‘The Bonnet’ —— and my research. He wrote two papers championing ‘The Bonnet Portrait’ of Emily Brontë —— that were published in ‘Brontë Studies’ —— but predictably his second paper featuring the newly discovered drawing was broadsided by three big Brontë guns! Considering that almost all articles published in Bronte Studies since 1895 —— trigger no responses at all from the journal’s subscribers, Christopher’s second article can only be regarded as a bit of a coup for ‘The Bonnet’! Christopher Heywood’s championing of ‘The Bonnet Portrait’ of Emily Brontë —— clearly touched a raw nerve in the upper echelon of the Brontë Establishment!  

Oh how I miss his wizard form of thinking! Sadly, Christopher passed away in February 2021 —— and thereby, he passed ‘The Bonnet’ baton to me to keep alive —— and kicking!!! After his death, his much treasured, evergreen painting of Emily was sold at auction to an unknown but discerning private collector.

‘Like it says on’t tin’. A timeworn inscription on the back of the painting reads: “Emily Brontë/sister of Charlotte/Currer Bell”.

The Prof. with the ‘lost’ portrait of Emily Brontë in his hands.

I vowed to Christopher, that I would continue to strive to complete his dear unfinished task. 

That ALL said, I’m now ready to share Emily’s first rite of passage through The Tolmen Stone! The Tolmen is situated in the North Teign river and is only passable when its surface is dry and the current is running low!

My inward impression of the original ‘Bonnet Portrait’ drawing —— is something that I carry effortlessly around with me at all times; quite often I forget that ‘E-M-I-L-Y’ is there because she is lighter than a feather! However, in order to pass a tangible, visible image of Emily in her Bonnet through The Tolmen —— without dropping my external, electronic apparatus in the North Teign —— I was willingly and ably assisted by my tall walking companion, Tom. Once he’d threaded E-M-I-L-Y through The Tolmen Stone his arm rose Excalibur-like back through the hole. I captured this shot for posterity —— or do I mean prosperity? Indeed both!

E-M-I-L-Y virtually threading the Tolmen Stone.

Rock! Paper! Truth.

Paper copy of the ‘lost’ portrait of Emily Brontë inside the Tolmen Stone. E-M-I-L-Y’s second threading in a fortnight! 

There is such a magickal, silvery light down inside The Tolmen Stone. Not able to be seen other than by myself —— is the inward impression of the ‘lost’ portrait of Emily Brontë —— that I take with me everywhere I venture on Dartmoor. 

Note too, a couple biting, stinging midges giving my forehead the needle; in a physical —— and metaphorical sense, pesky midges —— and their like —— don’t deter either me or ‘The Bonnet’; one simply gives them the brush-off!

Somewhere between threading the hole and an ‘after hours’ visit to Spinster’s Rock —— I successfully bid for a purely Brontë-related book at Scorhill Sacred Stone Circle —— 31st May 2022 at precisely 10:19:46pm BST! With just two seconds to spare plus the power of Dartmoor’s Knowstones at my fingertips —— I won a signed copy of an antiquarian book that I had been meaning to source for quite some while. Since I started my ‘Bonnet Quest’ in 2016 —— I have seen a couple other copies of this quite rare and sought-after book for sale but had resisted buying either of them —— and now I know why. I have a feeling its author, Charles Simpson —— wanted me to be this chosen copy’s new keeper; it was a gift in that sense!  

1929 EMILY BRONTË Biography By Charles Simpson with signed message. F Harold Sunderland, to whom the book is inscribed —— I believe had links/family ties with ‘High Sunderland Hall’ inspiration for Emily Brontë’s ‘Wuthering Heights’. 

https://en.wikipedia.org/wiki/High_Sunderland_Hall

The real ‘lost’ portrait of Emily Brontë with Charles Simpson’s signed copy; somethings are destined to be together. The last chapter (pages 201 to 205) has particular relevance to my field of research. 

Therefore, it is important to read the entire chapter in order to better grasp the mistakes made by the Brontë Establishment and the National Portrait Gallery who together (aided and abetted by meddling literary critic Clement Shorter——see page 203 below) misidentified Branwell’s portrait of Anne Brontë —— as the ‘lost’ portrait of Emily. They got it all wrong about the ‘lost’ portrait but still won’t admit it!

In 1893, he repeated his original statement that the ‘lost’ portrait of Emily WAS a drawing —— “It is proposed to establish a Brontë Society… The chief desideratum is the excellent pencil sketch of Emily Brontë, drawn by Charlotte, which was in the possession of Martha Brown, the old servant of the family, and is now lost. I saw it thirteen years ago, and vainly endeavoured to purchase it. I have vainly endeavoured to trace it since.”
William Robertson Nicoll, 1893

William Robertson Nicoll was an early president of the Brontë Society; oh if only he were alive still, things would be very different for the true ‘lost’ portrait of Emily Brontë.

The whole of chapter five (pages 201 to 205) “A NOTE ON THE PORTRAITS” to read uninterrupted. . . 

List of illustrations. Ellen Nussey was Charlotte Brontë‘s life-long friend and was familiar with all the Brontës.

The “Gun” group print on which Ellen Nussey wrote the initials of the Brontës —— “A B” for Anne Brontë.

I assure you “Martha Brown’s picture” is found!

The “Gun” group print on which Ellen Nussey wrote the initials of the Brontës —— “E J B” for Emily Jane Brontë; it’s plain to see that the planes of “E J B’s” face and E-M-I-L-Y’s face are identical —— not to mention their expressions. 

The ‘lost’ portrait of Emily Brontë supported by Assycombe’s top “Blocking Stone” —— Fernworthy Forest, Dartmoor. 

Dartmoor has the largest concentration of prehistoric sacred stones anywhere in the United Kingdom —— so there are many more listeners to show and tell about our “E-M-I-L-Y”!

Sir William Robertson Nicoll’s original statement about Martha’s portrait of Emily Brontë.  

A small, antique watercolour painting depicting Scorhill Sacred Stone Circle; it was in this same circle that I won Charles Simpson’s signed book!  

Saturday, 21st. May 2022. . .

A visit to Spinsters’ Rock Dolmen near Drewsteignton, Dartmoor National Park 🕢 — followed by a warm Summer’s evening linear walk along the entire length of Hunter’s Path and back again; the high path above Teign Gorge —— beneath Castle Drogo. We never met a single soul there and back except for a lone Badger, numerous Fallow and Roe Deer — and ponies.

A fairy cake supper at Hunter’s Tor 🕘 Our thrones. . .The narrow, rocky path to Hunter’s Tor outcrop (looking back from our thrones!). . .Then it was a leisurely amble back in the twilight —— later by torchlight — listening to the “whip-poor-will” calls of the Nightjars. Arriving back at Fingles Bridge after dark.🕥

At the Dolmen, my camera picked-up a mysterious electric-blue light, spinny ‘thing’ —— in the shadow of a clump of Stinging Nettles.💙

The capstone is estimated to weigh a colossal sixteen tons —— yikes!😯 To read about the history and legends of Spinsters’ Rock —— visit: https://www.legendarydartmoor.co.uk/spinster.htm

Leaning on a megalith.

A few more pictures of the way through the woods to Hunter’s Tor and beyond. . .

Passing through the Fairy doorway both ways.

Chagford by evening light from Hunter’s Path.

A beautiful Oak Apple overhanging Hunter’s Path.

Castle Drogo.

Love Teign Gorge. A glimpse of the River Teign just under my thumb. The gentle rush of water over stone provides a constant background sound.   

A characterful John Deere Tractor at Shilstone Farm – home of the magickal Dolmen. 

My lasting impression of the Dolmen is that it looks like a giant Toad —— albeit a three—legged Toad!

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Sisters doin’ it for themselves with a little help from me! 

A blogpost about the fortunes of two pencil portraits by Charlotte Brontë of her sisters, Emily and Anne; one portrait (above right) is idolized by The Brontë Establishment and fans alike —— the other (above left) is ostracized.

In 1879, Sir William Robertson Nicoll saw two pencil portraits drawn by Charlotte Brontë —— of her two sisters, Emily and Anne. At the time, both portraits belonged to Martha Brown —— former housekeeper and loyal servant to the Brontës; Nicoll was visiting Martha at her home in Haworth.

William Robertson Nicoll’s account is repeated under ‘APPENDIX 1’ in ‘Under The Bay Tree’ published in 1934 —— eleven years after his death. ‘Under The Bay Tree’ is a unique record of the Robertson Nicoll’s successful married life together between 1897 – 1923 —— written by Sir William Robertson Nicoll’s wife, Lady Catherine.  

These are Sir William Robertson Nicoll’s own words about the two pencil portraits. . .

If one reads on after the second red highlight, Sir William goes on to recount how he was able to buy the pencil drawing of Anne after Martha’s death in 1880. But alas, the ‘lost’ portrait of Emily eluded him all his days thereafter. 

And this is the portrait of Anne by Charlotte that Sir William bought from Martha’s sisters —— now in the Brontë Parsonage Museum Collection in Haworth:

Until a few days ago, the only image I had to hand of Charlotte’s pencil drawing of Anne is the small b/w image on the left, reproduced in ‘The Art of The Brontes’ —— authors Christine Alexander and Jane Sellars. The much bigger, clearer image on the right (“Plate 21”) is reproduced in ‘Sixty Treasures’ —— published by The Bronte Society in 1988.   

A new pre-loved acquisition to help fortify my modest research library!

That said, I find one can read as much Brontë literature as one likes —— but when it comes down to really understanding ‘The Art of the Brontës’ (their actual Art not the book, as in the so-called ‘catalogue raisonne’) one has to learn to read between Charlotte’s lines! Of course it helps immensely if one has an original drawing to hand.

Provenance in ‘Sixty Treasures’ published by The Bronte Society in 1988 —— detailing Charlotte’s pencil drawing of Anne.

And  Lady Catherine Robertson Nicoll had her own unique reminiscences of being a former keeper of Charlotte’s portrait of Anne. . .

From ‘Under The Bay Tree’ published in 1934 “For private circulation only” 

A certain stylistic trait that immediately struck me about the bigger, ‘Sixty Treasures’ picture of Charlotte’s pencil drawing of Anne —— is that the sitter’s name ‘Anne’ is obliquely written in her hair. . .

In the name of Brontë research —— a slightly rotated image (borrowed from ‘Sixty Treasures’) —— of Charlotte’s pencil drawing of Anne in the Brontë Parsonsage Museum collection in Haworth.

As a further research-based exercise to expose “Anne” —— I have edited the areas around Charlotte’s ‘hidden’ stylistic trait. It becomes evidently clear that Anne’s shoulder-length hair has been deliberately coiffured by Charlotte to fall around her sister’s face in curls that integrally identify her as “Anne”. 

Charlotte has deployed upper and lowercase lettering in order to make detection much less obvious —— and it’s worked brilliantly until NOW!!! This is truly groundbreaking research albeit homespun and makeshift due to the total lack of interest in Charlotte’s sister portrait cryptically titled “E-M-I-L-Y” —— from the National Portrait Gallery, The Brontë Parsonage Museum and the BBC’s [Fake or Fortune?] ——all of whom I have contacted several times over about the true ‘lost’ portrait of Emily Brontë —— right: 

In the exact same stylistic manner that “Anne” has been carefully coiffured —— so too Charlotte has cleverly woven “E-M-I-L-Y” into the drapery as well as “E B” in the hair. . .

Charlotte went to town on “E-M-I-L-Y” but still the powers-that-be choose to ignore the lot!

All the while Charlotte’s initals ‘C B’ float airily at the end of a loose curl. . .

I have included a pinhead to simply illustrate the smallness of Charlotte Bronte’s initials; on the original her initials are tiny but are much sharper —— as in they are clearly delineated.

When taken out of context, ‘M’ in E-M-I-L-Y is an example of how Charlotte’s cryptic pencil lines shapeshift back into three folds in the drapery…

But when viewed as part of the whole the folds shapeshift from left to right to become ‘E-M-I-L-Y’. And it’s the same with the coiffured letter shapes in Anne’s hair; once perceived one can’t unsee them. 

Charlotte’s ingeniious name game has outsmarted all the eyes of all the beholders of Anne’s pencil portrait —— including those of it’s former owner Sir William Robertson Nicoll —— and Lady Catherine —— and about five generations of Brontë Society curators and members —— but not ME!

Sometimes it actually feels like Charlotte’s drawings ‘talk’ —— although lately I’ve sensed a certain impatience from Emily-on-the-wall with my own lack of perception; why ever has it taken me this l-o-n-g to suss “Anne”!!!The true ‘lost’ portrait of “E-M-I-L-Y” is microscopically signed in uppercase ‘C BRONTË’ in Emily’s right eye as one looks at the drawing —— its position is highlighted in green; it is an unbelievably small signature —— but it is there.  

I have nothing else that I wish to add to today’s post —— except,  

“E-M-I-L-Y” M-A-T-T-E-R-S.

En route —— Dartmoor from the A386. I stopped to take this snapshot from the road because the Moor looked like it was dressed in army camo! In hindsight, I think Dartmoor was telling me to keep my eyes peeled. . . 

Saturday, 7th. May 2022. An eventful walk!

From yesteryears.

🕓 Linear-ish walk starting at Princetown — Nun’s Cross Farm — Fox Tor — Childe The Hunter’s Tomb — Mount Misery Cross — Ter Hill West and Ter Hill East — arriving back at abandoned farmhouse, Nun’s Cross farm after dark. Another all-time first experience —— was seeing the lights on in Nun’s Cross Farm. . .Found a Raven’s pellet on Mount Misery Cross. . . And crossed paths with a rare Smooth Snake (although it may have been an unusually long, fast moving Slow-worm). . .And lots of Ten Tors teams on the track between Princetown and Nun’s Cross Farm. . .Coming back along the same stretch in the darkness — my son, Tom — suddenly thought he saw a strange form in the shadows but wouldn’t tell me what it was he thought he had seen——only I insisted that he told me! He said go back and look for yourself——so I did! I shone my torch on ‘it’. My eyes didn’t adjust immediately. Then ‘it’ suddenly moved——it’s cover blown! It was a soldier out on night maneuvers. Gosh! — he didn’t half make me jump. My second reaction was to say, “I’m  sorry!” for disturbing him!!! — with that someone suddenly shouted an order and a dozen soldiers sprung to their feet like Jack-in-the-boxes — it was just like being in a military ambush!!! They all had blackened faces. They must have seen the light from our torches in the distance and thought they would see if they could lie-in-wait——as in undetected. The path from Princetown to Nun’s Cross Farm is about two-and-a-half miles long —— exposed, flat and straight. There is a drystone wall and ditches on either side of the stretch we were ambushed. The soldiers never spoke a word directly to us – so I thought it best not to ask them for a photo-call!!! They marched off into the blackness——only without torches. It must be one of the strangest Dartmoor encounters I/we have ever experienced. We didn’t half laugh about it walking back to the car. 🤣🤣

Siward’s Cross near Nun’s Cross Farm – Dartmoor oldest granite cross —— 11th century.

Nun’s Cross Farm.

My walking companion, Tom.

Fox Tor.

Childe The Hunter’s Tomb.

Fox Tor on the horizon.

Patch of golden sunlight on the area around Mount Misery Cross.

A pair of wild Dartmoor ponies crossing heads for a mutual groom at Mount Misery Cross. 

Tom betwixt Ter Hill West and East crosses.

Same boy, same place. At Ter Hill West in 2010 aged 10.

My old friend, Ter Hill East. Love this cross.

All Dartmoor’s ancient crosses have a visual power – but they possess a greater strength that one feels through touch – it’s an indefinable energy that one taps.

Returning to Nun’s Cross Farm by dusk.

Siward’s Cross under a waxing Moon.

Before starting our walk we just had time to nip into the National Park Visitor’s Centre at Princetown. The area that we traversed skirts Foxtor Mires —— the inspiration for Conan Doyle’s Grimpen Mire!

I guess we were very lucky that it was a group of soldiers on night maneuvers that made our hearts skip a beat in the darkness and not the infamous Hound of the Baskervilles!!!  

Princetown is also the home of Dartmoor Prison! —— from the outside its stark presence on the edge of the moorland village only serves to magnify ones feelings of escapism all the MORE.

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I don’t doubt for one minute that this pencil drawing is a genuine ‘lost’ artwork by one of the Brontë Sisters —— of two of the Brontë Sisters, namely Charlotte and Anne.

Because on the surface it differs in style from all the other ‘lost’ portraits I’ve shone a light on —— that I attribute to Charlotte’s hand —— I lean towards Emily’s hand for ‘one’ reason.

If one scrutinises this singled-out area (highlighted) —— it’s possible to see just some of the thousands of ‘hidden’ micro-sized numbers that make up the whole drawing; it’s no sketch!

In this area they are like little vertical number stacks but they have to be perceived. . . Believe me, this ‘sketch’ has been executed by no ordinary person —— it’s been painstakingly drawn by a very fastidious hand, that of a genius. Every straight line and every cross-hatched area is comprised of micro-sized numbers; it’s truly a phenomenon to behold —— and to hold.

I can see the exact same mind-blowing technique in Emily’s drawing of ‘Grasper’ —— even in this small, b/w book illustration!!!

‘Grasper’ —— drawn from life by Emily Brontë featured on page 376 of ‘The Art of The Brontës’ —— the official catalogue raisonné —— compiled by Christine Alexander and Jane Sellars, published 1995.

So I really don’t get what excuse the keepers of the official collection in Haworth have for not noticing what’s reet under their noses! The Brontës all did it! —— Charlotte, Branwell, Emily and Anne —— I’d stake my ‘Bonnet’ on it! 

Of course, what this featured ‘sketch’ and all the other ‘lost’ drawings need is the kind of amazing science seen on [Fake or Fortune?] and then the truth within would be exposed for certain. In the meantime, I only have a phone camera at my disposal but I have done my best to capture a hint of what lies ‘hidden’ in all of them.

Disappointingly, my single-handed efforts continue to be a case of ‘One can lead a horse to water but One can’t make it drink.’ —— as in I can’t make the Brontë Establishment SEE if they won’t remove their blinkers. . .

Not an elephant in the room but an extraordinary blinkered horse; Emily was ever the prophetic One! And note ‘Wuthering Heights’ is on’t back wall.  

A slant of light shone on this area has highlighted where the artist’s pencil has been scored into the paper —— proving that the micro-sized numbers are not marks or shadows in the paper texture. 

Verso there are several individual sketches. . .

‘Unbelievably’ these ‘doodles’ reveal the same micro-sized numbers —— even the heavenward manicule —— rotated here for easier viewing. . .

Look closely —— as if looking through the lines. Hand drawn manicules were clearly something that the Brontes used in the margins of text.  

A manicule drawn by Charlotte featured on page 262 of ‘The Art of The Brontes’ —— the official catalogue raisonné —— compiled by Christine Alexander and Jane Sellars, published 1995.  

   “Where possible Charlotte avoided drawing hands and never seems to have copied the usual exercises in hands and feet from contemporary drawing manuals, as she did in the case of eyes, mouths, ears, etc.”¹

In other words hands were Charlotte’s weak point —— something that’s clearly evident in these three ‘lost’ artworks. . .

Image can be enlarged in a new window by clicking on it. Notice how the hands of both figures in the ‘Sisters’ ‘sketch’ are poorly executed too —— maybe a trait that points to Charlotte’s hand rather than Emily’s?

In the Bronte Society’s ‘The Lost Manuscripts’ —— this manicule is attributed to Emily’s hand. 

For a closer comparison. Note the shape of the tips of the middle fingers —— they are the same.

One of the most telling pieces of evidence that the drawing is a depiction of two of the Brontë Sisters —— Charlotte seated and Anne bending —— is that Anne is identified by the artist in writing——disguised as a squiggle on her dress sleeve. . .And Charlotte is identified by a deliberate ‘C’ on the artist’s palette. . .

An artistic trait that I would usually attribute to Charlotte’s hand —— see this previous post: 

http://somethingaboutdartmoor.com/2020/05/02/spelling-it-out-the-art-of-steganography-in-the-art-of-charlotte-bronte/

The condescending Brontë expert that casually looked at this drawing in person in April 2019 and swiftly rejected it as not by any of the Brontë siblings —— felt the need to remark that if she had the time she could find me the engraving that it was copied from —— there’s still no feedback on that one four years on! Of course, it was her offhanded way of telling me that the drawing (in her view only) is not drawn from life. I totally disagree with that expert. Perhaps if she had removed her blinkers for just a moment and gotten herself a magnifying glass —— she might have perceived the phenomenal detail that’s ‘hidden’ in each and every line of this ‘lost’ Brontë ‘sketch’. It’s all in the detail.

1. Page 246 ‘The Art of The Brontes’ by Christine Alexander and Jane Sellars.

We will remember them. 

Walk 1.

Sunday, 24th April 2022.🕞

Late afternoon walk starting at 3:30 pm from the ‘Fox and Hounds’ car park on the A386 —— walking through the beautiful River Lyd valley — up and over the whale-back of Great Nodden — onwards to Tiger Marsh after sunset — to the crash site on Christmas Day 1943 —— of a lost B17 Flying Fortress aircraft. Five crew members died at the crash site — three survived. The impact area is permanently blackened — the grass has never grown back. The wreckage serves as a memorial to those who gave their lives in the line of duty; it is strictly forbidden to remove any of the wreckage. There’s a feeling of great solemnity there – in the middle of a boggy marsh, in the middle of nowhere —— on Dartmoor.  Other than grazing sheep, ravens, bumblebees and skylarks — we never met a living soul there — or back. 🕤

Our gateway to the Moor. Dusty footpath from the ‘Fox and Hounds’ —— Widgery’s Cross ahead.

‘Goldsworthy Stacks’ in the Lyd Valley. Two-and-a-half beehive-shaped stone cairns —— circa lockdown 2020! 

Across the gently burbling River Lyd…

Eye of Heaven. View over to Bodmin Moor from half-way up Great Nodden.

View of Great Nodden cairn looking across the Lyd Valley to Great Links Tor. 

Left: Great Links Tor. Right: Great Nodden. Middle ground: A hardy Hawthorn. 

Sunset from disused Rattlebrook Railway track – used in the old days for transporting peat from the high moor to Bridestowe. Onwards and upwards to the crash site at Tiger Marsh.

Tom picking his route out of the marshy ground.

Terra firma! Walking away from the crash site —— back up and over Great Nodden —— arriving back at the car park after dark.

My son and walking companion, Tom.

Great Nodden looking sleepy. 

Walk 2.

Before the off! A cool, reflective moment out of direct sunlight inside St Thomas a Becket Church, Sourton. 

Seize The Day!

“Put a stout heart to a steep hill.”  Tom sets the pace!

Taking a breather at Sourton Tors trig point. St Thomas a Becket church lies slightly right of the green arrow. 

Looking back at Sourton Tors.

Lonely cloud over Great Links Tor and Arms Tor.

Two darling little ‘Blackface Sheep’ lambs that came to us unbidden on the Rattlebrook Railway track; they weren’t lost, their mother was close by. 

Blue sky and shadows as we head on over the horizon.

Hunt Tor looking across to Great Links.

Hunt Tor.

Queen of all I survey! Kitty Tor on the horizon from Hunt Tor. 

The lie of the land. ‘The Far Tor’ or ‘Fur Tor’ far-left of centre. ‘Green Tor’ and ‘Bleak House’ chimney stack middle ground. Higher Dunnagoat Tor right of centre. All images can be enlarged in a new window just by clicking on them!

Terrain between Hunt Tor and Kitty Tor —— but thankfully there’s a grassy army track that cuts through the middle of it all to purposely stride across to Kitty Tor.

Kitty Tor.

Looking across to an old friend from Kitty Tor —— the sphinx-shaped stack of Lints Tor centre. 

Across to sitting camel-shaped Steng-a-Tor but not in a direct line!!! Deceptively wet ground even after April’s prolonged dry spell. 

Characterful Steng-a-Tor sits in its own stagnating bog hence its other name Stinka Tor! Expect wet, smelly boots!  

‘Lovely’ Stenga from terra firma!

Over the edge of the world —— sideways fashion down into the West Okement valley.

At the going down of the Sun. A timely arrival at the first wreckage pit of the ‘Lost Liberator’. 

There are tangles of metal scattered over four pits; paying our respects at all four. . .

Looking back from the bank of the West Okement river to Lints Tor. 

Not bushes! —— but the ancient pedunculate woodland of Blackator Copse.

Tea! Leave No Trace —— litter collection bag at the ready.

Smile. Only the sounds of a pair of contented walkers munching —— a pair of very vocal Ravens in Blackator Copse —— and the burbling West Okement wending its way through the valley.

A backward glance to Blackator Copse going to sleep.

Followed by a purposeful march to the windswept Beech trees of Prewley Moor by the close of day. 

Arriving back where we started at St Thomas a Becket Church, Sourton at 10:00 pm.  

Lest We Forget. Our letterbox stamp found in a rock crevice at the edge of one of the crash pits of the ‘Lost Liberator’. 

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A brilliant video about the locations and history of two of Dartmoor’s lost aircraft —— ‘B17 Flying Fortress’ at Tiger Marsh —— and ‘Liberator PB4-1’ on the side of the West Okement Valley. . .