My ‘ability’ (for want of a better word) to read between the lines of Charlotte Brontë’s Art —— has its roots in this rather plain-looking line of trees silhouetted against the sky at the edge of a field…

‘My’ trees —— ALL trees —— are anything but plain ordinary though. They’re the lungs of the Earth for starters —— the air we breathe without thinking, depends on them; they ARE super extraordinary —— selfless beings —— that ‘ask’ only for a space to grow in. Our dependency on trees isn’t just a physical thing though —— it’s mindful too; they speak to us —— they inspire us —— they L💚VE us. This World —— as we know it —— and as we may think we know it —— would be nothing at all in the absence of ‘Tree Magick’. So don’t EVER underestimate the benevolency of even the smallest or unruliest-shaped specimens – or the Ones that don’t appear to stand out in a crowd —— a wood!

Aspects of ‘Tree Magick’ —— are ‘HERE’ —— there —— and everywhere, but you have to learn to speak the language. Like say —— learning French only different. I think Charlotte Brontë, Emily Brontë, Anne Brontë, Branwell Brontë —— all the Brontës —— were fluent in ‘IT’ when they were alive. And it is something that doesn’t end when death comes —— it goes on in perpetuity —— ‘you’ become ‘IT’.

‘IT’ —— is what Emily wrote so powerfully about in her poems; Emily understood ‘IT’ to the very highest of levels.       It was this group of trees captured in the click of a shutter —— that gave me the first clue that there is MORE to the art of Charlotte Brontë than first meets the eye! It was only after I got home from my afternoon walk and uploaded the image to my computer —— that suddenly ‘E.M.I.L.Y’ jumped out of the screen at me, like joined up handwriting.

As a believer in Elementalism, it was no real surprise to me that trees can spell out words and names too! Together, they told me to get up off my spinney chair that instant, and go fetch the ‘Bonnet’ to my desktop without another moment delay. In a second flash, there was the name that identifies the sitter beyond doubt as —— ‘E.M.I.L.Y’. Without the trees ongoing benevolency, I might still be in the dark about it all. As it was —— ‘E.M.I.L.Y’ had been under my safe keeping for four months before the ‘name’ penny dropped – in 2016. 

Whether or not you believe that ‘Elementals’ or Nature spirits – directly communicated with me – or you’re doubtful still that it’s a portrait of EMILY Brontë drawn by her sister, Charlotte Brontë —— that’s up to you to decide —— but please don’t ignore the ‘obvious’. The folds in the sitter’s drapery clearly and boldly spell-out, E.M.I.L.Y —— I defy anyone to argue against this truly Elemental finding…

Let me elucidate some more… 

Firstly, I have no doubt whatsoever that the portrait is indeed the ‘lost’ portrait of Emily by Charlotte that William Robertson Nicoll described as “a clearly and boldly drawn pencil sketch…” —— as seen when Robertson Nicoll visited the Brontë’s faithful servant, Martha Brown in 1879. Indeed, Robertson Nicoll was the portrait’s only independent witness – without his written statements about the portrait – Charlotte’s portrait of her beloved sister, Emily —— whom she loved and feared in equal measure, would probably have been lost beyond all chances of recognition.  

Robertson Nicoll was the chief Editor of the ‘Woman at Home’ magazine – that first published a photogravure of the ‘Bonnet Portrait’ – in 1894. The photogravure featured in an article by Frederika Macdonald —— titled: ‘The Brontës at Brussels’; Frederika herself attended the ‘Pensionnat Héger’ at a later date to Charlotte – and Emily —— in 1859.

I see no reason whatsoever to doubt Robertson Nicoll’s integrity and professionalism as Editor. He was a consummate gentleman in all his dealings; it makes no sense that he would have been party to printing fake news. Robertson Nicoll also served as an early President of the Brontë Society – such was his interest in Brontë matters – he was an honourable all-rounder; SIR —— William Robertson Nicoll, to use his correct title.

Frederika certainly knew a thing or two about Charlotte – indeed she filled a whole volume —— cover to cover —— with her unique inside knowledge on the subject!

My particular copy of ‘The Secret World of Charlotte Brontë’ by Frederika Macdonald —— is a 1st edition, ex-library book complete with a library stamp for the ‘Red House Museum’ – Oxford Road – Gomersal – Cleckheaton – formerly the family home of Charlotte’s other best ‘Kindred’ – Mary Taylor. Definitely another vibrational Internet find – especially as Frederika’s book helped me locate Charlotte’s tiny signature on another ‘lost’ drawing.

‘Coincidences‘ abound!

Back to ‘E.M.I.L.Y’ and proving my point that Charlotte ‘hid’ names —— and words —— indeed entire messages in her portraiture —— and sketches. 

It’s ‘funny’ though —— how ‘the powers that be’ deny that ‘E.M.I.L.Y’ exists in the bold lines of the drawing; ‘honestly’ just who are they trying to kid?

One possibility of getting through to them – is to prove that Charlotte integrated names and words into her art —— but in order to substantiate Charlotte’s giveaway trait as seen in the ‘Bonnet Portrait’ – it must also be recognised in an authenticated drawing by Charlotte already in the ‘Brontë Parsonage Museum’ collection in Haworth. 

So, what better place to look than my trusty, well-thumbed copy of ‘The art of the Brontes’ by Christine Alexander and Jane Sellars —— greatly expanded with my own notes —— particularly in the Charlotte section…

Not anywhere in ‘The art of the Brontës’ —— do the authors themselves even hint that Charlotte Brontë ‘signed’ her drawings cryptically – in the way that I’m suggesting. If they had done, the handful of ‘lost’ drawings that I’ve identified as being Charlotte’s —— probably wouldn’t have slipped through the auction net repeatedly – and thereby through the hands of several ‘nameless’ art dealers/historians —— all of whom I noted have letters after their names; I’m suggesting nowt!!!

I think Charlotte made her ‘mark’ as integral as possible — that way ensuring that no one in the future could erase or strike-through her wording without destroying the very integrity of the artwork itself. Surprisingly, there are a number of authenticated works by Charlotte that have suffered at the hands of their keepers through the years — one such case is a drawing featured on page 261 of ‘The art of the Brontës’ – titled: 159. ‘Good-bye’: a comic sketch. It’s an illustrated farewell letter from Charlotte to her best friend and confidante, Ellen Nussey…

In a self-deprecating style, ‘Charlotte’ cuts a lonesome, rather stunted —— even ugly figure, waving ‘Goodbye’ to her beautiful best friend ‘Ellen Nussey’  – who bodily is turned away from Charlotte towards the open arms of her tall, handsome beau – aka ‘The Chosen’. The gulf in between Charlotte and the party on the right of the sketch is the English Channel. Charlotte’s sketch depicts the time in her life when she returned to Brussels in January 1843 —— to continue her studies at the Pensionnat Héger.

Fast-forward, back to the matter in hand…

After Charlotte died in 1855, Elizabeth Gaskell asked Ellen for material for her ‘Life of Charlotte Brontë’. In an act of censorship, Ellen vandalised Charlotte’s ‘Good bye’ sketch before handing it over — even striking through her own name for heaven’s sake! She also cut out the male figure on the right — which has since been restored. You can see the repair.

Charlotte need not have worried though —— that she was about to lose her closest friend to the amorous gentleman in the stovepipe hat…

Because Ellen never, ever married.

The hem of Ellen’s skirt holds another ‘secret’ — that when highlighted reads, ‘My Kindred’ — because that was what Ellen was to Charlotte; they were all but sisters…

I think Charlotte only included ciphers when the subject —— or recipient, was dearest to her heart. In Charlotte’s book —— ‘Kindreds’ is a term not solely reserved for those in her immediate family. Charlotte uses the very expression ‘My Kindred’ in ‘Jane Eyre’ – when orphan Jane discovers the true relationship between herself and St John Rivers —— and his kind sisters, Mary and Diana. When Jane discovers that they are cousins – she feels that she has found a family at long last – a ‘brother’ and ‘sisters’ – not cousins. To quote ‘Jane Eyre’ —— “It is not saying too much: I know what I feel, and how averse are my inclinations to the bare thought of marriage. No one would take me for love; and I will not be regarded in the light of a mere money speculation. And I do not want a stranger — unsympathising, alien, different from me; I want my kindred: those with whom I have full fellow-feeling. Say again you will be my brother: when you uttered the words I was satisfied, happy; repeat them, if you can, repeat them sincerely.”

In the author’s own words —— a ‘Kindred’ was someone Jane felt “a full fellow-feeling” with❣️

In Charlotte’s case, Ellen Nussey was undoubtedly Charlotte’s best ‘Kindred’; Mary Taylor of ‘The Red House’ in Gomersal, coming a close second. The three of them met at Roe Head school – when Charlotte was 14 and Ellen and Mary, 13. It was during their time together at Roe Head – that they made a pact never to marry, which would go some way to explaining Charlotte’s cryptic dig at Ellen; a classic case of Charlotte drawing out loud methinks!

“HIS” Charlotte declares on Ellen’s ‘Leg O Mutton’ sleeve —— ‘Gigot’ in French!!!

Oh! And then there is the steamboat broadening Charlotte’s horizon. Now this little flourish took a bit more figuring because I can’t speak French except for the odd phrase or word! Charlotte’s steamboat is no regular steamboat —— it’s musical! Because the word disguised in a cloud of steam is ‘étude’ – a noun meaning —— a short musical composition, typically for one instrument, designed as an exercise to improve the technique or demonstrate the skill of the player. The word ‘étude’ comes from the French for “study” – et voila!

It wasn’t just on sleeves —— and hems —— and cloaks and in clouds —— that Charlotte drew out loud on; it was on pretty lace collars too…

All Jane’s feelings for Mr. Rochester wouldn’t fit in a lace collar…

However, if like the author of ‘Jane Eyre’ – one takes only the first two words of Jane’s declaration of everlasting love for Mr. Rochester – and simply switches the ‘All’ and ‘MY’ around – they become ‘MY ALL’; same difference, same meaning!

‘MY ALL’ — needs NO more defining in itself.

Charlotte poured out her heart to the unattainable M Héger in a series of impassioned love letters —— sent to M Héger after she reluctantly returned home to Haworth; none were answered though.

I imagine that Charlotte’s exquisitely drawn ‘selfie’ was intended as a gift for M Héger at the onset of Charlotte’s cerebral love affair —— with the French language! It was an affair that quickly developed into a full-blown crush for her Belgian Professor that spoke to her in a way that no one had spoken to her before —— or after; Charlotte fell hopelessly —— and madly in love. M Héger and Charlotte spoke fluently in French together — but that was apparently ALL. M Héger was a happily married man —— hence Charlotte’s attentions went unrequited❣️

Interestingly, the portrait says on the back of it: “Charlotte Brontë drawn by. M Héger 1842″ —— 1842 being the year that Charlotte along with her sister, Emily – first studied at the Pensionnat Héger in Brussels. To my knowledge, Constantin Héger had a clear gift for ‘painting by words in French’ but not as in portraiture! I have no doubt at all that this is a self-portrait by Charlotte, because for a start —— it contains a certain other characteristic trait that’s evident in the ‘Bonnet’ drawing also; the art of shading by teeny-weeny numbers.  

In matters of the heart – Charlotte WAS drawn by M Héger; as a moth is drawn by a flame❣️ The burning desire Charlotte felt for the man she could not have – is woven through the lace collar of her little grey dress —— indeed through the very fabric of her Being. Her soul could barely live with the thought of never seeing —— or speaking French with her Master again, but her broken-heart mended after a fashion; Charlotte picked up that burning thread again, then wove it through each and every one of her novels instead.    

I’d say the trick to reading anything ‘Charlotte’ is to read between the lines, through the surface —— or ‘en filigrane’, through the watermarks —— as Charlotte would say it!

Jane Eyre! Lucy Snowe! Eat your hearts out! Stand up the real Charlotte Brontë❣️ 

It is my conclusion then, that Charlotte’s heartfelt inscriptions —— nay encryptions, were Charlotte’s own unique form of wearing her Art —— and her Heart on her sleeve❣️ 

Charlotte’s unique —— but oblique way of integrating ‘hidden’ meanings into her most precious drawings ensured that no one – not even her best ‘Kindred’ – could even begin to erase —— or strikethrough —— or cut out Charlotte’s intentions – without destroying the whole of the artwork in the act❣️

First though, one has to perceive what’s written there – just beneath the surface as it were.  

E.M.I.L.Y requires NO further spelling out —— other than to point out that there appears to be a ‘heart’ in her left eye —— in contrast to her right eye that has three lines of teeny, weeny ‘indecipherable’ script written across it…

So don’t be put off by this portrait of ‘E.M.I.L.Y’ because it doesn’t fit with your own image of Emily Brontë and how you think she ought look; allow Charlotte to be the better judge! Don’t let the sitter’s wayward frizz of curls —— beneath the brim of a large ‘Pamela Hat’, distract your attention away from what is undeniably an exquisitely drawn face…

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““coincidence” comes with a lot of Angelic effort…”
– anonymous. 

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Some other inspirations along the way…💛

‘Heart On My Sleeve’

A blast from the past! I’ve always loved this song from 1976 by Gallagher and Lyle; I even kept my tape cassette of it —— I loved it that much💛

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“coincidences” abound. 

A late night vibration – a ‘new’ music video that randomly shuffled on whilst I was putting together today’s post —— ready for publication, Friday, 1st May 2020 —— Beltane🌿💚🌿. 

In a flash, the row of bright green laser lights reminded me of some trees I happen to know. I have a tendency to read things —— in all manner of things —— but rather funnily —— I rarely read books! It’s true to say, I’m certainly no Brontë scholar of the more traditional type.  

L💚VE this track —— Madis ‘Carrying The Fire’…