Roe Head, Mirfield. This now is part of Hollybank Special School

 

I was searching for Roe Head on Google Earth

and found out that it still is a school

with the name Hollybank Special School 

 

 

Roe Head, Mirfield.

 
The blue plaque reads: Roe Head - Built on land bought from the Armytage Kamily of Kirklees Hall in the mid-17C and rebuilt in 1740. The building became a school in 1830, attended by the Brontë sisters, Charlotte, 1831-32, Emily, 1836, Anne 1836-7. Charlotte returned in July 1835 as a teacher. Headmistress of the school was Margaret Wooler (Mrs Prior in Shirley) and Charlotte's Friends at school were Ellen Nussey and Mary Taylor (Caroline Helstone and Rose Yorke in Shirley).

This now is part of Hollybank Special School. 

           Read more: The+Bronte+sisters+at+Roe+Head

Virtual+Tour
 

 

geograph.uk

Google Earth

 

 

 

Visit to the Bronte Parsonage

Yorkshire Evening Post : Last week, when the weather was awful, I made my first proper visit to the Bronte Parsonage museum in Haworth.

I’ve been twice before, but then the place was so crowded that if I stopped for more than a few seconds to examine an exhibit, I caused a tourism jam and felt obliged to move on.
This time, with most tourists, apart from some very hardy Koreans, having retreated to their storm shelters, there was time to gawp – and really, seeing the possessions of a rather private and close-knit family being exposed to the common gaze in what was once their home, does feel a little like gawping.
On display, for example, are some of Charlotte Bronte’s clothes, including a very skinny pair of stockings and a tiny under-bodice, which I don’t suppose she would have expected to have been exposed to anybody apart from her husband, sisters and servants. It manages to make you feel, even after all these years, intrusive. Read more: Yorkshire Evening Post

A new and improved Bronte book cover

 

 

Beautiful picture

from

 

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Wearer Unknown, An exhibition of paintings by Victoria Brookland.

An exhibition of paintings, Wearer Unknown, by artist Victoria Brookland has opened at the Brontë Parsonage Museum as part of the museum’s contemporary arts programme. The series of new works have been inspired by the dresses in the Brontë Parsonage Museum collection, and each is hand-drawn in ink and watercolour.

It is the second time that Victoria Brookland has exhibited her work at the Brontë Parsonage Museum. Her first exhibition, Secret Self, in 2007, explored the contradictions between the constricting dresses that the Brontës wore – with their corsets and crinolines – and the brilliance of their limitless inner imaginations. This is a theme that Victoria has returned to and has developed further in her latest series, Wearer Unknown.

“The items of Brontë clothing in the collection are amongst the most striking and popular exhibits here at the museum and in these paintings Victoria Brookland uses the dress as a symbol to question our over-familiarity with the Brontës. Her work is incredibly powerful and beautiful, and prompts us to think about the sisters’ lives in new ways”. (Jenna Holmes, Arts Officer)

 

All of the paintings in the exhibition are for sale. Victoria Brookland will be talking about her work at an event in Haworth on Friday 4 June at 3.30 pm. The event will take place at the West Lane Baptist Centre and tickets are £5 on the door. Victoria will be in conversation with Jane Sellars, Curator of Art at the Mercer Art Gallery in Harrogate.

The exhibition runs until Sunday 18 July 2010.

Bronte parsonage

bronteblog

 

Gentle Anne (But......she had a 'core of steel'). On a day like today in 1849, Anne Brontë died.

 

On a day like today in 1849, Anne Brontë died in Scarborough surrounded by her sister Charlotte and her lifelong friend Ellen Nussey.
Read more about what happened that day on 28-05-1849 anne-bronte-and-scarborough

Anne is called "gentle" Anne.

• But as you can read (under) Anne had a 'core of steel'.
• Her book, The tenant of Wildfell Hall, called by one of her biographers, a revolutionary work of social criticism.

In 1839, a year after leaving the school, and at the age of nineteen, Anne set out to begin her first period of employment: she was to become a governess with the Ingham family at Blake Hall, Mirfield, which was situated just two miles from Roe Head. The children in Anne's charge were spoilt and wild, and persistently disobeyed, defied, teased and tormented her. She experienced great difficulty controlling them, and had almost no success in instilling any education. She was not empowered to inflict any punishment, and when she complained of their behaviour to their parents she received no support whatever, but was merely criticised for not being capable of her job. By the end of the year the Inghams decided they needed to find some other mode of education for their offspring: Anne returned home, her employment with the family having come to an abrupt end. The whole episode at Blake Hall was so traumatic for Anne, that she reproduced it in almost perfect detail in her later novel, Agnes Grey.

With her characteristic determination, she soon obtained her second post: this time as a governess to the children of the Reverend Edmund Robinson at Thorp Green - near York. This was about forty miles from Haworth, and the furthest any of the Brontës had worked away from home. Initially, she encountered the same problems with the unruly children, that she had experienced at Blake Hall. Her own quiet, gentle disposition did not help matters. However, as one biographer has stated, despite her outwardly placid appearance, Anne had a 'core of steel': with sheer determination, and the experience she gradually gained, she made a resounding success of her position, becoming 'wondrously valued' by her new employers. Her charges, the Robinson girls, ultimately became her life long friends, and years later turned to their former governess, rather than their mother, in times of trouble. In 1848, several years after Anne had ended her employment with the Robinsons, Bessy and Mary Robinson, her former pupils, visited her at the Haworth Parsonage, and Charlotte reported the occasion to Ellen Nussey, declaring that their guests were 'attractive and stylish looking girls . . . they seemed overjoyed to see Anne; when I went in the room they were clinging round her like two children - she, meantime, looking perfectly quiet and passive.' ¹  Many years after the entire Brontë family had died, it was recorded that Mary 'always retained the most kindly memories of her gentle governess'
mick-armitage/anne

Biographers from 1900 Part II ( Under construction)

I am reading the Bronte Myth of Lucaste Miller

In the years after Elisabeth Gaskell from 1900 till........

• Release of the Hegers papers.
• Vanaf 1920 Psychobiography
• Influence of Freud (Hidden working of the unconscious mind) and Lytton Stracey ( uncovering of the revealing unedifying motives behing revered façades).
• Why Charlotte attracted such an un usual prevalence of psychoanalytic interpretation? Her rich symbolic of her novels and the legacy of  Gaskell' s "" Life"".
• It became fashionable to redefine the Victorian virtue of self denial as a sick symptom of masochisme.
• Psychobiographers: Subtilety and complexity were often sacrificed for the sake of fitting. It detach the subject from the social, cultural and literary influences.
• Hollywood transformed Jane Eyre and Wuthering Heights in to the greatest love stories ever told.
• Suffragettes, before the First World War, claimed Charlotte Bronte as a pioneer.
• Later feminism: Charlotte, a parable of victimhood oppressed by the men in her life, het father, her brother, her husband and her teacher
• 1980-1990 For the first time since Gaskell biographers stop routinely seeing Charlotte  as a victim.

1912    May Sinclair     The Three Sisters

• Had an enormous influence on perceptions of Emily
• Charlotte sublimate desires by redirecting them in to a spirituel channel. Charlotte became spiritual superiority.
• Reaction against the caricature of Charlotte as a frustrated spinster ( a seks-starved hysteric).
• She believed in the concept of the ideal women artist.

1914    Frederica Mac Donald     gutenberg/files/The secret of Charlotte Bronte

1919    Esther Alice Chadwick   In the Footsteps of the Brontës

• A few years after Esther Alice Chadwick (fl. 1882-1928) - who wrote under the name Mrs Ellis H. Chadwick - had read a copy of Elizabeth Gaskell's Life of Charlotte Brontë, she moved to a house near the Haworth vicarage where the Brontë family had lived. As a result, Chadwick was able to speak to many people who had known the family, and in 1914 she published this extensive biography of the family.
• Emily, the innocent recipient of mystical experiences which came direct from God.
• Emily could not have created Heatcliff without the inspiration  of real-time romance. This biographer came up with Constantin Heger!!!!!

 1920 Lucille Dooley

   Psycho analysis of Charlotte Bronte. As a type of woman of genius

• Charlotte had a father fixation. Electra complex.
• Lucile Dooley was the first commentator to suggest that Charlotte' s death was caused by "psychogenic reactions" linked to her father fixation. Charlotte could not become a mother without a destroying conflict.
• The unconscious artist. Charlotte'snovels hadrisen whole and unalterable from ""the Unconscious"".
• Dooley subtler than many other psychobiographers.

 

1927 Isabel C. Clarke  Haworth parsonage. A picture of the Bronte family

• William Weightman awoke the passion to create Heatcliff
•  Emily must have been a Roman Catholic
•  Comparing Emily to catholic mystics

1928 Romer Wilson  The Life and Private history of Emily Jane Bronte.

• Romer is a Yorkshirewoman
• She boasted that she paid especial and respectful attention to primary sources.

 1929 Rosamond Charlotte  

• Wanted to explode the foolish fashion of canonising Charlotte Bronte.
• If Charlotte's life was sad, it was her own fawlt
• The key to Charlotte's problem "surpressed personality"
• Lack of interest in the literary evidents of Charlotte's writings.
• Charlotte is prim, priggish and a prude
• Rosamond invented the idea Charlotte liked green and Emily purple

1932  E.F.Benson

 

• Calling Charlotte ruthless, bitter, ungracious and black censoriousness of others is the root of much of her unhappiness.
• Charlotte' s hardness contrasts Emily' s superior generous nature. 
• Charlotte forfeited Emily' s love.
• Charlotte remained detached from her works.
• Not to gain a deeper understanding of het literary imaginazing but to judge het personal life. 
• He put Charlotte as bitch on the map.
• Emily Bronte lesbian.

1936   Virginia Moore   The Life and Eager Death of Emily Bronte

 

• She wrote Glendale poems instead of Gondal Poems
• Masculinity of Emily's prose
• Heathcliff is a self-portrait
• She had difficulty reading old handwriting.
• She misread the title of a poem "Love's Farewell" as ''Louis Parensell" and went on to invent alover of that name

1941 Fannie Ratchford

 

• The Brontes web of Childhood
• First in -depht study of the juvenilia
• Pioneering work

1948   John Maynard   Charlotte Bronte and sexuality

• Sexual desire was rooted in her reading Byron' s Don Juan and Shakespeare' s comedies and through het intuition and introspection. 

1953 Muriel Spark

• Emily' s poems and novel, not anything that happened in het external life, formed the principal facts of her biography.
• Emily is a self-created being centered in the universe of her own imagination.
• Gondal and Wuthering Heights became so central to Emily' s life that she ceased to distinguish between the realand the imaginary.
• Emily believed she was at liberty to will or not to will death from a fatal disease. She suffered
• from delusions about the power of her own genius, dramatizing her own dying.

1960 Millicent Collard. Wuthering Height- the Relevation, a Psychical Study of Emily Bronte.

• What was it that Emily Bronte was hiding from the World? A strong psychic nature, contact with the death, second sight.
• This book seem like a lone eccentric, but it reflects the process of mystification, established during the interwar period.

1967  Winifred Gerin. Lived on the edge of Haworth moor. The evolution of genius

• Combinated passion and erudition in her books
• The first who used footnotes, documented her sources
• Her main aim to trace the evoling process by which Charlotte became a novelist
• Visitations deserted Emily
• Emily close to Branwell

1969   John Hewish    A Critical and Biographical Study

• Skepticism. Did Emily bake the bread or is a story Gaskell made up?
• Law Hill "problem". Excactly how many month did Emily spend teaching at Law Hill?

1976    Helene Moglen The Self Conceived 

• Charlotte was doomed because, as a woman, she could not be Zamorna.
• Nicolls is an authority figure, though it internalizes Charlotte' s needs to be dominated.

1976   Margot Peters Unquit Soul.

Life and Art, both an eloquent protest over the cruel and frustrating limitations imposed upon women,

Life could not be other than  a battle between conformity and rebellion.

 

 

 

 

Sandra Gilbert and Susan Gubar The_Madwoman_in_the_Attic 

 

 

• Bertha Mason is Jane Eyre's doppelganger, able to express what Jane cannot
• The Red Room: the figure in red represent the passionate rage of Jane 

 

 
 

 

 

1988 Rebecca Fraser

 

Placed Charlotte in the context of nineteenth rather then twentieth century wrinting of gender

Interested in recognizing those aspects of Charlotte''s personality which enabled her to become an ambitious artist.

1994  Stevie Davies


• Emily' s poetry embedded in a whole web of other literary sources analogues
• German Philosophy
• Gives a vived picture of the relationschip between biographer and biographee
• Emily may have has a lesbian  consciousness, but cannot prove it.

Old picture of the Black Bull

bronte/life-at-the-time-of-the-brontes

What happened to......

The diary papers

These diary papers were discovered, still enclosed in the small box, by Charlotte's husband, the Reverend Arthur Bell Nicholls, in 1895 - many years after the entire Brontë family had died. He sent them to a Brontë biographer¹⁴⁴ with a note which read:

'The four small scraps of Emily and Anne's MSS I found in the small box I send you. They are sad reading, poor girls!'

mick-armitage/anne/diaries

Mr Brontë had died in 1861, at which point the Parsonage contents had been sold off and moved out. Many items had gone with Charlotte's husband Arthur Bell Nicholls to his new home in Ireland; others had been given to friends and servants as keepsakes. The sisters' manuscripts, letters and personal belongings began to appear in salerooms, and many fetched high prices on the American market.

• Arthur Bell Nicholls had taken part of the collection to Ireland with him when the Brontë household was broken up in 1861 and he had guarded it, selling nothing for over thirty years.
• After Mr. Brontë’s death Mr. Nicholls removed it to Ireland.  Being of opinion that the only accurate portrait was that of Emily, he cut this out and destroyed the remainder.  The portrait of Emily was given to Martha Brown, the servant, on one of her visits to Mr. Nicholls, and I have not been able to trace it. There are two portraits of Branwell in existence, both of them in the possession of Mr. Nicholls.  One of them is a medallion by his friend Leyland, the other the silhouette which accompanies this chapter.  They both suggest, mainly on account of the clothing, a man of more mature years than Branwell actually attained to. gutenberg
• Over the years that followed, most of the Brontës’ early poems and stories were first published (under Shorter’s assumed copyright) by either Shorter or Wise, but none of the manuscripts ever saw the inside of the South Kensington Museum. Wise vandalized Nicholls’ collection and sold it, scattering it across the globe. kleurrijkbrontesisters/what-happened-after-death-of-charlotte 
• Under the terms of Bonnell’s will his widow, Helen, retained some eighty items of Brontë memorabilia but the rest of his collection, some 336 items, were despatched in 1929 to the newly acquired Parsonage Museum — 336 items that would be the firm foundation on which other donors of Brontë memorabilia would thereafter have the confidence to build. His bequest included the manuscripts of fifteen of Emily’s poems, her French devoirs, and the desk on which she wrote Wuthering Heights.

Bonnell.pdf

•  There were fifty of Charlotte’s manuscripts, including The Story of Willie Ellin, Angrian poems, and her French devoirs; nine of Anne’s poems and twenty by Branwell, and over a hundred of Charlotte’s letters. There were thirty-four drawings and watercolours; Mr Brontë’s Homer and his Horace, both prizes from St John’s ‘for having always kept in the first class’
•  Martha Brown treasured a large collection of Brontë memorabilia that she was happy to display, but reluctant to sell. On her death however, this collection was divided between her sisters and it gradually dispersed

------------------------------

It contains numerous  relics of the Bronte family. Altogether there are some three hundred exhibits, and a number of letters and manuscripts written by Charlotte and Branwell Bronte.

• There is a copy and translation of the letter written by M. Heger to Mr. Bronte in  1842 (someone had evidently copied it and given it to Ellen Nussey, as it was purchased at the Nussey Sale),
• and one from Mrs. Gaskell to Martha Brown.
• A specimen of almost every article of dress worn by Charlotte Bronte,  including her boots and house shoes, as well as many relics of other members of the family.
• There is Ellen Nussey's copy of the privately printed book made up of the letters from Charlotte Bronte to her, which Mr. Horsfall Turner compiled,
• and there are also some early editions of the Bronte novels and poems, which have been presented to the Society. In addition are many sketches made by Charlotte, Branwell, and Emily Bronte;
• even the old leather trunks used by the family have a place there, as well as a saddle bag used by old Mr. Bronte.
• Thackeray's statuette. In the footsteps of the Bronte's

1925 The Twelve Adventurers and Other Stories, a collection of Charlotte’s juvenilia, published posthumously.
1931-38 The nineteen volumes of The Shakespeare Head Bronte–the most complete edition of the works of Charlotte, Emily, Anne, and Branwell–published.
1933 Legends of Angria, a collection of Charlotte Bronte’s juvenilia, published posthumously.
1971 Five Novelettes, a collection of Charlotte Bronte’s juvenilia, published posthumously. aupello.blogs

The Dining Room
The books on the shelves are of the period, while those owned by the Brontës themselves are stored securely elsewhere

The Kitchen
After Patrick Brontë's death in 1861, the Parsonage became the home of the Revd. John Wade, who made several alterations to the house, the kitchen being the room most effected by the changes. A back kitchen, where the washing and heavier household work was carried out in the Brontës' time, was demolished to make way for a large kitchen extension, which blocked the mullioned window which had formerly looked out towards the moors. The range was removed, and the old kitchen became a passage way to Wade's new dining room in the large gabled wing, which was also built at this time. Today the kitchen houses displays of furniture and utensils which belonged to the Brontë family, and a kitchen range of the correct period has been added in an attempt to recreate the room's original appearance.

Mr Nicholls Study
Three wallpaper samples were found in Charlotte's writing desk. A fourth sample, held in the New York Public Library, is accompanied by a note, authenticated by Elizabeth Gaskell, which describes it as being a 'Slip of the paper with which Charlotte Brontë papered her future husband's study, before they were married.'

Several relics have been preserved, including this wooden board with the Lord's Prayer painted upon it.

The Servant`s Room
Originally this room was entered by means of an outside stone staircase. The original doorway has been partly uncovered. Also visible is part of a mullioned window which was probably blocked up in the Brontës' time, during alterations to the house.  bronte

Bronte biographers part I (till 1900) I am still busy with this blog, so it can change.

I am reading the Bronte Myth of Lucaste Miller

In the years after Elisabeth Gaskell till  1900

• Rumours about the relationship between Charlotte Bronte and Constantin Heger.
• Biographers and writers believed or attached these rumours.
• Biographers believed that everythng Charlotte wrote is from her life
• Working class education started.
• Cheap editions of the novels flooded the market
• English literature began to take root as an academic subject.
• Concept ideal women artist. A new spiritality. Charlotte's subdued social manner is spiritual superiority.
• Emily appeared as child of the moors.
• No careful examination of the evidence, but devotion to the subjects
• The question came up: Who did write Wuthering Heights? Branwell or Emily Bronte or together?
• Women wanted  role models who symbolized female freedom from social conventions.

BIOGRAPHERS  ( and writers)

 

1867 William Dearden "Who wrote Wuthering Heights"?

 

Under the headline 'Who wrote Wuthering Heights?' Dearden described a meeting which had taken place in the summer of 1842 between himself, Branwell and their sculptor friend Joseph Leyland at the Cross Roads Inn between Haworth and Keighley. A month earlier, the two poets had each agreed to produce a verse composition set in the mythical time before the Deluge. But when Branwell arrived at the appointed pub to show off his handiwork, he found that he had accidentally picked up the wrong manuscript. What he read out was not the antediluvian poem 'Azrael or the Eve of Destruction' he had written in answer to Dearden's challenge, but a fragment whose scene and characters 'so far as then developed' were, according to Dearden, 'the same as those in Wuthering Heights, which Charlotte Bronté [sic] confidently asserts was the production of her sister Emily'. bronteblog/wuthering-heights-at-cross-roads-inn
kleurrijkbrontesisters/william-dearden

 

 

 

1883 Laura Carter Holloway An hour with Charlotte Bronte  

 

 

1877   Thomas Wemyss Reid- Charlotte Brontë: A monograph e-book charlottebronte 

Had been given access by Ellen Nussey to correspondence

 of Charlotte's which Mrs. Gaskell had not seen

He hinted that Charlotte ""had tasted strange joys"" at the Pensonnat Heger

 

1883 Gutenberg/ EMILY BRONTË/ Mary Robinson (click the link to read the book)

The Life of Emily Brontë

Mary Robinson wrote to Ellen Nussey asking for help with material.

She wanted  to humanize Emily, a free spirit, child of the moors.

She wanted to give a "Death blow"" once and for all to the theory that Branwell Bronte had written Wuthering Heights

-----------

How could a simple young woman, a clergyman's daughter, have created the brutal and passionate Heathcliff? The first biography of Emily was by A. Mary F. Robinson, Emily Brontë (1883, reprinted 1978) Mary Robinson, thought she had found the answer. Emily herself was not a bad person; no, she was a bright, charming girl. It was her older brother Branwell, who had put such evil thoughts into her head. Emily was, in Robinson's biography, an innocent victim of his depravity—so close to Branwell that she had no choice but to pour her agonized soul and his agonized sufferings into a strange book. (Miller, 238-241) maidsbrmyths

 

Clement King Shorter

 

 

Was the first to suggest that Charlotte had probably destroyed Emily' s and Anne' s  letters and literary effects.

 

1899  Marion Harland Charlotte Bronte at home

 

Believed Charlotte could not be emotially attached to Heger.

  

1911 gutenberg/ Malham Dembleby/The key tot the Bronte's work

There is nothing in Charlotte' s novels that is not a direct copy from life.

He believed Charlotte Bronte wrote also Wuthering Heights 

Crimson curtains

facebook/Bronte-Parsonage-Museum=stream: At long last our new, specially-woven curtains - as close as we can get to those ordered by Charlotte for the room - are up! Made from union cloth and dyed crimson, Charlotte was unhappy with the colour. The good news is, we love them!

The dining room would also have been used to entertain visitors, and therefore it is the room most often described in articles and contemporary accounts. Like the bedroom directly above, this room was enlarged by Charlotte in 1850. The dining room, sometimes called the parlour, is furnished in a simple style. Elizabeth Gaskell said, 'The parlour has evidently been refurbished within the last few years, since Miss Brontë's success has enabled her to have a little more money to spend... The prevailing colour of the room is crimson... bronte/museum-and-library/inside-the-parsonage

According to forensic analysis, the room was papered both before and after Charlotte's 'gentrification', and the chosen paper is a contemporary design, in scarlet to match the curtains. Several years ago, a scrap of wallpaper was found in Branwell's Studio which can now be dated to the Brontë period. Allyson McDermott matched it with an almost identical sample - also contemporaneous with the Brontës' time - which was found inside a housemaid's cupboard at Kensington Palace. The wallpaper has been reproduced. bronteparsonage/historic-redecoration
 

Late last year a document in faded brown ink fluttered out of a book

Every so often a Brontë object or document so rare and precious comes up for sale that it's hard to believe it could end up anywhere but here at the Parsonage. Late last year a document in faded brown ink fluttered out of a book whose owners had never before suspected its existence. Closer inspection revealed it was addressed to 'M Heger', and, anticipating that it might be something very special, its owners took it to a London agent for identification. A very important appeal from the Brontë Society:

Photographs on Pennistone and the Bluebell

hathawaysofhaworth had a photograph taking day yesterday

 and  took several photographs on Pennistone.

 

From this weblog: The past image is of  the gown with a correct shaped collar which I made myself out of vintage Victorian lace as early collars from the 1830s are too expensive for everyday work wear so I thought I would share the shots of the collar these are taken at  the St Ives estate nr Bingley, the bluebells are just starting to come out there so its a nice trio if your staying in Haworth as it’s not far from Haworth.

 

 

The Bluebell

The Bluebell is the sweetest flower
That waves in summer air:
Its blossoms have the mightiest power
To soothe my spirit's care.

Emily Bronte
literature/bronte

A fine and subtle spirit dwells
In every little flower,
Each one its own sweet feeling breathes
With more or less of power.
There is a silent eloquence
In every wild bluebell
That fills my softened heart with bliss
That words could never tell.

Anne Bronte
The_Bluebell-by-Anne_Bronte

L'Amour Filial

Keighley News gives more details about the Brontë Society appeal for bringing to Haworth an unpublished manuscript by Charlotte Brontë, L'Amour Filial:

The Brontë Society is seeking help raising funds to buy the work, a homework essay written by Charlotte for the man she loved.
The society was told in December of the previously unknown piece, which is in private ownership.
A single-page document, written in French on both sides, it was assigned as homework by Charlotte’s teacher, Monsieur Constantin Heger, at the Pensionnat Heger school he and his wife ran in Brussels. Heger has added his corrections to the work.(...)
The Bronte Society declined to say how much it needed to buy the manuscript, entitled L’Amour Filial, but said it had already been “generously supported” by the Victoria & Albert Purchase Fund and the Friends of National Libraries.
Society chairman, Sally McDonald, said: “The fact this work is unpublished adds enormously to its significance. We are delighted to launch this appeal and thank all those who have so far contributed.”
Visit bronte.org.uk to make a donation.

thebrusselsbrontegroup/heger 

We had very early cherished the dream of one day becoming authors.

This dream, never relinquished even when distance divided and absorbing tasks occupied us, now suddenly acquired strength and consistency: it took the character of a resolve. We agreed to arrange a small selection of our poems, and, if possible, get them printed. Averse to personal publicity, we veiled our own names under those of Currer, Ellis, and Acton Bell; the ambiguous choice being dictated by a sort of conscientious scruple at assuming Christian names positively masculine, while we did not like to declare ourselves women, because—without at that time suspecting our mode of writing and thinking was not what is called "feminine"—we had a vague impression that authoresses are liable to be looked on with prejudice; we had noticed how critics sometimes use for their chastisement the weapon of personality, and for their reward, a flattery, which is not true praise.

Biographical Notice of Ellis and Acton Bell, 1850
(as reproduced in Wuthering Heights, Norton edition, page 308)

edu//lesson01

Art inspiration Charlotte Bronte

 

 

bbc/yourpaintings/paintings/charlotte-bronte

 

I am thinking for a long time

 to make a watercolor of Charlotte Bronte

On Internet I was searching for some ideas

 I asked myself what did other artist do?

 

lyndallgordon

 

 

reconstructionists/

You can find here more portraits of famous women

 

best-graphic-novels-graphic-nonfiction-2012

 

etsy/jane-eyre-art

 

etsy/jane-eyre-Charlotte

 

bbc/paintings/charlotte-bronte