The Love of Dante: ‘Dantis Amor’ (1860)

Dante Gabriel Rossetti, 'Dantis Amor', 1860
Dante Gabriel Rossetti, ‘Dantis Amor’, 1860

I thought it would be nice to discuss the namesake of my blog’s url, dantisamor. It’s a typically Rossettian title with allusions to Dante Alighieri and divine love and with a Latin or Italianate feel to it, so I thought it would make a pretty-sounding WordPress name! Contextually, Dantis Amor also has connections with that divine palace of Art which I am sadly yet to visit, Red House, and therefore with William Morris and the Arts and Crafts Movement. Let’s see why.

Rossetti painted Dantis Amor, which translates as ‘Dante’s Love’, on a panel on the door of a settle in Red House, Bexleyheath, which had been built in 1860. ‘More a poem than a house,’ in the words of Rossetti, Red House was designed by the architect Philip Webb as the home of William Morris and his new bride Jane. While today Bexleyheath has been absorbed into the suburbs of London, in the 1860s it was still very much a rural village miles from the city, and Red House was actually built on the land of an orchard. Its name derives from the colour of its bricks, and its distinctive style, based on medieval vernacular buildings, went on to influence Arts and Crafts architecture in the nineteenth century and beyond. Morris intended it to become a locus of artistic energy and collaboration, with the Burne-Joneses (Edward was also recently married, to Georgiana MacDonald), Rossetti and Elizabeth Siddal, Algernon Charles Swinburne, Ford Madox Brown and other artists and poets frequently visiting of the household. Many accounts of lively parties and garden gatherings survive. Elaborate, collaborative schemes were put in place to decorate the walls, windows and furnishings of the house with paintings and hangings, all in the medieval manner. Beautiful murals by Rossetti, Burne-Jones and others, which were (shockingly!) covered over with panelling and whitewash by later tenants, are still being uncovered today. In the airy, barn-like drawing-room upstairs stands the large, heavy settle whose cupboard doors were originally painted with scenes by Rossetti — these were removed sometime before 1863. Dantis Amor, the central panel, is now in the Tate, and was included in the 2012 exhibition along with two other Dante-themed panels (below) from the Red House settle (although they were only displayed in Washington).

Red House, Bexleyheath, Kent. Designed by Philip Webb in 1859, construction completed in 1860. View from the central half-quadrangle.
Red House, Bexleyheath, Kent. Designed by Philip Webb in 1859, construction completed in 1860. View from the rear garden. Image copyright National Trust.
Dante Gabriel Rossetti, 'The Salutation of Beatrice in Florence' and 'The Salutation of Beatrice in the Garden of Eden', 1859. Like 'Dantis Amor', these two panels were also painted on the cupboard doors of the Red House settle.
Dante Gabriel Rossetti, ‘The Salutation of Beatrice in Florence’ and ‘The Salutation of Beatrice in the Garden of Eden’, 1859. Like ‘Dantis Amor’, these two panels were also painted on the cupboard doors of the Red House settle. Note the winged figure of Love bearing a sundial in the middle.

The complex iconography of Dantis Amor — and almost all of Rossetti’s other Dante-themed paintings — is derived from a literary source, Dante’s autobiographical La Vita Nuova (The New Life) (1295), in which the medieval Italian poet immortalises his unrequited love for Beatrice Portinari. It was a fundamental favourite of Rossetti’s, who even produced a translation of it in as early as the 1840s. His father, the Italian political exile Gabriele Rossetti, was an eminent Dante scholar, and J. B. Bullen writes of ‘the imaginative life of the Rossetti household [being] dominated by the figure of Dante Alighieri.’ Much has been written of Dante Rossetti growing up to live in a Dantesque dream, venerating and beatifying Elizabeth Siddal as Dante did Beatrice. According to the Rossetti Archive, the title ‘Dantis Amor’ has a threefold meaning, referring to Dante’s love of Beatrice, God and Love itself, even though Dante himself does not appear in the painting. The colour palette of Dantis Amor is just gorgeous, with its blend of rich golds, royal blues and fiery reds. Standing at the centre is the allegorical figure of Love, as an angel with sweeping scarlet wings, a golden robe and a halo of auburn hair. The composition is strikingly geometric, divided up into diagonal, symmetrical segments. Framed in a crescent moon in the bottom left corner is the head of Beatrice — she looks diagonally up to the haloed head of Christ in the top left. A bottom-left to top-right diagonal separates two celestial realms: the golden world of Christ, filled with radiant sunbursts, and the nightly world of Beatrice, patterned with gold and silver stars. Here Rossetti visualises the final words of Dante’s Divine Comedy, ‘Love which moves the sun and the other stars.’

Detail of Christ
Detail of Christ. The Latin inscription, ‘qui est per omnia saecula benedictus’, is the last line of ‘La Vita Nuova’ and means, ‘Who is eternally blessed’.
Detail of Beatrice
Detail of Beatrice. The facial features are probably those of Elizabeth Siddal.
Detail of the winged Love, holding an unfinished sundial
Detail of the winged Love, holding an unfinished sundial

The angel Love holds a long bow and arrow, at an angle which counterbalances the other diagonal, and also what looks at first glance to be a big white bowl. This is in fact an unfinished sundial; a completed drawing for the picture (below) shows that its shadow would have pointed to the 9th hour. For Dante, the number 9 had deep, symbolic connections with Beatrice: he was nine years old when he first met her (she was eight), his love for her lasted for nine years, and she supposedly passed away at nine o’clock. Since Beatrice was represented by the number 3 (also indicative of the Holy Trinity), she could be tripled to make 9. The angel’s sundial points to this number in memory of the hour of her death, as in Rossetti’s later painting Beata Beatrix (see links below), and is thus an indication that Dantis Amor portrays the moment of Beatrice’s transfiguration into heaven. The figure of the sundial-bearing Love can also be seen on the frame between the other Red House Dante painting previously shown above, and a preparatory drawing for this shows the angel in a similar attitude. Clearly, it was an image which fixated Rossetti.

Dante Gabriel Rossetti, 'Dantis Amor', design for the Red House painting. This finished version shows the sundial pointing to the 9th hour.
Dante Gabriel Rossetti, ‘Dantis Amor’, design for the Red House painting. This finished version shows the sundial casting its shadow on the 9th hour, and it’s labelled with 1290, the year of Beatrice’s death.
Dante Gabriel Rossetti, 'Dantis Amor', study of Love with a sundial and a torch, 1860
Dante Gabriel Rossetti, ‘Dantis Amor’, study of Love with a sundial and a torch, 1860. Like the drawing above, this picture bears the date of Beatrice’s death, apparently on the 9th June. The Latin inscription, ‘quomodo sedet sola civitas’, is the last line of the ‘Divine Comedy’ and means ‘Love which moves the sun and other stars’.

So, there we have it. Hopefully it’s now clear why I’ve chosen such a typically Rossettian name for this blog!


Further information

  • Extensive images of the newly-restored murals in the living-room of Red House can be found on Claudia Fiocchetti’s blog. I’m dying to go and see the paintings in situ soon! A video about the discovery and conservation of a Biblical-themed mural, possibly a collaborative venture between William Morris, Edward Burne-Jones, Ford Madox Brown and Elizabeth Siddal, can be seen on Youtube.
  • Rossetti explored the theme of the dying Beatrice in one of his most popular paintings, Beata Beatrix, which exists in several versions (the most famous is now in Tate Britain). The painting uses the features of Elizabeth Siddal, who had died in 1862, and many regard the painting as Rossetti’s haunting memorial to his deceased wife and muse. To view the painting and listen to audio commentary by Alison Smith, see the BBC Desperate Romantics website.
  • A videoed lecture from Yale University about Dante’s La Vita Nuova.

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