John Everett Millais (1829-1896), The Bridesmaid, 1851, oil on panel, 27.9 x 20.3 cm. The Fitzwilliam Museum
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Painted in 1851, ‘The Bridesmaid’ illustrates one of many Victorian marriage traditions. Victorians believed a bridesmaid would see a vision of her true love if she passed a piece of wedding cake through a ring nine times, a ritual depicted in Millais’ painting. This is not the only symbolism found in the painting. An orange blossom on the woman’s chest represents chastity. Read more
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The Soul of the Rose by John William Waterhouse NFT
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Frank Cadogan Cowper (1877-1958), Vanity, 1907, oil on panel, 57.1 x 38.1 cm. Royal Academy of Arts
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The subject matter and composition of 'Vanity' are derived from Italian Renaissance painting. Cowper has bedecked his youthful beauty with jewels and given her a hand-mirror to signify vanity. She stands before a vine, heavy with ripe grapes, suggestive of abundance and pleasure. Read more
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Elaine of Astolat
Elaine dies of heartbreak. In accordance with her instructions, her body is placed in a small boat, clutching a lily in one hand, and her final letter in the other. She then floats down the river to Camelot, where she is discovered by King Arthur's court, who call her 'a little lily maiden'.
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Mysterious Art Century
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Julia Margaret Cameron (1815-1879), "So like a shatter'd Column lay the King", 1875, albumen silver print, The J. Paul Getty Museum
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Illustration by Louis Rhead (1857-1926) for The History of Over Sea by William Morris, 1894.
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John Collier (1850-1934), The Sleeping Beauty, 1921, oil on canvas, 111.7 x 142.2 cm. In a private collection
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William-Adolphe Bouguereau (1825-1905), Entre la richesse et l’amour, 1869, oil on canvas, 106.5 x 89 cm. In a private collection
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Dante Gabriel Rossetti (1828-1882), Reverie, 1868, coloured chalk, 86 x 72 cm. Ashmolean Museum
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