Charlotte Brontë's corset

Notes

 

(1) The cover picture is indeed Charlotte Brontë's corset, slightly retouched to make it seem less intimate somehow. The Brontë Society is quite reluctant to put such private items on display at the Parsonage. Anne Dinsdale, Collections' Manager at the Museum, recently told us the anecdote that this corset - or another belonging to Charlotte Brontë, if there are several of them - was displayed at an exhibition at the end of the 19th century. Ellen Nussey was duly appalled by it. Charlotte's husband was still alive too, living in Ireland, and we don't know if he heard, but rather think it better if he didn't or we can't begin to imagine what he would have felt, poor man. 

 
Katrina Naomi, the first writer-in-residence at the Brontë Parsonage Museum as part of its Contemporary Arts programme, has fulfilled many a Brontëite's dream: she has spent time at the Brontë Parsonage having all sorts of Brontëana items brought to her from the collection. She has been allowed to (carefully and with gloved hands) interact with them and just be inspired by them.
 
This collection serves to humanise the Brontës and see them as at home as possible. Katrina Naomi reports that judging from Charlotte Brontë's dainty boots she seems to have pronated, that a flimsy piece of paper written by Anne less than two months before she died was last valued at 180,000 pounds and that the Brontës' toy lion looks like 'he's been tortured'.

So these are the Brontës, lest we ever forget they were real people. Katrina Naomi's collection seems the perfect complement to another commission made in the framework of the Contemporary Arts Programme: Cornelia Parker's 2006 Brontëan Abstracts. Where Katrina Naomi states that she feels like 'a forensic examiner/unearthing layers of mid-thigh/socks' Cornelia Parker showed us a darn in Anne Brontë's stocking. Where Katrina Naomi admits that Anne Brontë is her favourite but she 'daren't touch/the original [letter] for fear I'd start to cough, my lungs/in revolt', Cornelia Parker showed us Anne Brontë's blood-stained handkerchief.

Just like Charlotte's tiny corset managed to contain the great author that was Charlotte Brontë, so does this small collection contain all of the Brontës, what they were, who they were, how they were, what they did and where they lived, and what they are today. This evocative, subtle collection bears endless readings - we have been drifting in and out of it ever since it arrived - and shows both the lasting and varied inspiration of the Brontë sisters in modern culture and, once again, the success of the Contemporary Arts Programme.

Life of Charlotte Brontë

When her Life of Charlotte Brontë was published in 1857, Elizabeth Gaskell said she would never write another biography. The celebrated social and Unitarian novelist had, in addition to the emotional challenge of writing about her recently deceased friend, faced so many complaints and threats of legal action over the Life that it had to be rewritten for republication almost immediately.
Having accepted the invitation from Patrick Brontë to write the life of his daughter Gaskell was keen to bring the same “charm of locality and sense of detail” to the Life that had already characterised her novels Mary Barton, Cranford and North & South. She quickly realised that a visit to Brussels was needed. Gaskell’s investigations were however made more delicate by the fact that when Villette was translated into French, the fictitious city name was changed to ‘Bruxelles’. Individuals portrayed in the novel were thus left with even less to mask their identity and felt understandably wary of welcoming a second English novelist into their homes.
Undaunted, French-speaking Gaskell made contact with locals including the widow of the former English chaplain and the Brussels chief of police. Although failing to win an audience with Madame Heger (the inspiration for the almost certainly slanderous character of Madame Beck), Gaskell was able to meet with Charlotte’s beloved Monsieur Heger (Monsieur Paul).

Samplers of the Bronte sisters

Maria Branwell completed her sampler April 15, 1791. She was 8 years old. Her sampler was a simple one, comprised of an alphabet, biblical text and a simple geometric border. It is worked with dark green silk and pink and ginger brown wool on canvas.

Maria's sampler is the first of a unique family collection. The collection is not unique for the style or technical expertise displayed by the embroiderers. It's interest lies in the fact that three of Maria's daughters grew up to become noted Victorian authors; the Bronte sisters.

Maria's sisters, Ann, Margaret, and Elizabeth Branwell each completed a similar sampler worked in the same dark green silk. Ann Branwell, later Ann Kingston, signed but did not date her sampler. Margaret Branwell signed and dated her work March 23, 1799. Sister Elizabeth finished her signed sampler on 11 October.

Time at Haworth was also devoted to needlework. Emily completed her first sampler April 22, 1828. Anne finished her first piece November 28, 1828. Both of these pieces are again similar to those of their elder sisters, aunts, and mother. The sisters each completed a second, more lengthy piece:
Emily, March 1, 1829; Charlotte, April 1, 1829 and Anne January 23, 1830. All were worked with dark green silk on canvas. All of these pieces were previously in private collections. They are now in the possession of the Bronte Society and on display at the Bronte Parsonage Museum, Haworth.

This is a reproduction of a sampler which Anne Bronte worked when she was eight years old. The reproduction is authorized by the Bronte Society, and the original may be seen at the Bronte Parsonage Museum, Haworth, England.
 

This is a reproduction of a sampler which Emily Bronte worked when she was ten years old. The reproduction is authorized by the Bronte Society, and the original may be seen at the Bronte Parsonage Museum, Haworth, England.

This is a reproduction of a sampler which Charlotte Bronte worked when she was six years old. The reproduction is authorized by the Bronte Society, and the original may be seen at the Bronte Parsonage Museum, Haworth, England.

gate in Haworth

This photo is of an old metal kissing gate in Haworth, Yorkshire.

This footpath goes from the churchyard out across the moor towards Top Withins. Top Withins is said to be the inspiration for Heathcliff's abode "Wuthering Heights" in Emily Bronte's novel of the same name.

Chair of Branwell Bronte

The photo above shows the chair in the Black Bull public house on the main street in Haworth that was used by Branwell Bronte. The chair is not where it used to be but is now sited on the stairway in front of a nice window.

Patrick Branwell Bronte (26 June 1817 – 24 September 1848) was a painter and poet, the only son of the Bronte family, and the brother of the writers Charlotte, Emily and Anne.

Hair and comb

Sample of Mrs. Maria Brontë's hair (dated 1824).

Emily's comb

Gedichten en brieven

"The primrose pale

Perfumes the gale

The modest daisy, and the violet blue"

Uit een gedichtje dat Patrick Bronte voor zijn vrouw Maria schreef.

Maria schreef hem

"Ik weet zeker

dat niemand ooit van u hield

met een even

 zuivere

 constante

tedere

 en

vurige genegenheid

 als ik voel''