Love’s Realm

Your love, more precious than gold
Shines in the night like a million stars.
I would gladly trade all that I own
To hear you say you feel the same.

I drown in the ocean of your passion
I float on the waves of your moonlit seas.
Your pleasure brings my life meaning
I would sacrifice all to fulfill your needs.

Each moment I hold so precious
My heart you pulled from the void.
My salvation, my wishes, my very existence
Tangled in our mingled stardust for evermore.

  • Donna T., Stephanie M., and Valentyna H.

© Dancing Orchid Soul

s love's realm

Do Not Reproduce Poetry In Whole Or In Part Without Permission

© @ValentyneDreams — Valentyna Holloway
@SymphonyNotes — Stephanie Manser
©Arias_Musings — Donna T.


Henry Peach Robinson ~ She Never Told Her Love and Fading Away

Henry Peach Robinson She Never told her love 1857

Henry Peach Robinson, (British, 1830–1901) ~ She Never Told Her Love, 1857.
Albumen print. National Gallery of Art, Washington. Paul Mellon Fund.

This preliminary study for Fading Away(no. 30), a print made from multiple negatives, takes its title from Shakespeare’s Twelfth Night.

Henry Peach Robinson Fading Away

Henry Peach Robinson, (British, 1830–1901) ~ Fading Away, 1858.
Albumen print. The Royal Photographic Society Collection at the National Media Museum, Bradford.
Purchased with the assistance of The Art Fund.

Robinson, who had initially trained as a painter, was known for combining multiple negatives to create complex compositions. This photograph provoked controversy when first exhibited: though praised for conveying the family’s anxiety as the consumptive child lies dying, it was also criticized for making such an upsetting subject seem too realistic.

Henry Peach Robinson ~ The Lady of Shalott, 1860.

Henry Peach Robinson The Lady of Shalott

Henry Peach Robinson, (British, 1830–1901) ~ The Lady of Shalott, 1860.
Albumen print. Tunbridge Wells Museum & Art Gallery.

A curse befell the Lady of Shalott, who glides down the river to Camelot, where she will die. Based on an Arthurian legend, as retold by Tennyson, Robinson’s work is a tour de force made from more than one negative. One reviewer noted that it reflected “the quaint poetic manner of the Pre-Raphaelites.”

Henry Peach Robinson ~ Elaine Watching the Shield of Lancelot, 1862.

Henry Peach Robinson, British, 1830 – 1901

Henry Peach Robinson, (British, 1830 – 1901) ~ Elaine Watching the Shield of Lancelot, 1862.
Albumen print. The Royal Photographic Society Collection at the National Media Museum, Bradford. Purchased with the assistance of The Art Fund.

The story of Elaine, a tragic tale of unrequited love, was told by Sir Thomas Malory in Le Morte d’Arthur (1485) and reworked by Tennyson in Idylls of the King. Lancelot has left his shield in Elaine’s care while he competes in a tournament with a blank shield to disguise his identity. She eventually dies of a broken heart, and, at her request, her body is borne by boat to Camelot.

Charles Lutwidge Dodgson ~ Mrs. Watts, Ellen Terry, Fancy Dress, 1865

Charles Lutwidge Dodgson

Charles Lutwidge Dodgson (British, 1832–1898) ~ Mrs. Watts, Ellen Terry, Fancy Dress, 1865.
Albumen print. Gernsheim Collection, Harry Ransom Center, The University of Texas at Austin.

Charles Lutwidge Dodgson, better known as Lewis Carroll (Alice’s Adventures in Wonderland) saw and admired George Frederic Watts’ portrait of Ellen Terry,Choosing (previous post), at the Royal Academy in 1864. The following year, Dodgson photographed Terry in the same dress, her wedding gown, at her family home. She had recently separated from the much older Watts, whom she had wed at the age of sixteen (the marriage lasted only a year).

George Frederic Watts ~ Choosing, 1864.

Choosing, George Frederic Watts

Choosing, (artist’s wife, Dame Ellen Terry), detail, c. 1864, George Frederick Watts

George Frederic Watts (British, 1817–1904) ~Choosing, 1864.
Oil on strawboard. Lent by the National Portrait Gallery, London.

After training in Italy in the 1840s, Watts produced many portraits, literary and history paintings, and murals. Here, he painted a lyrical portrait of his wife, the actress Ellen Terry, wearing her wedding dress, a Renaissance-inspired gown designed by William Holman Hunt. She lifts showy camellias to her face, crumpling the modest but more sweetly scented violets in her hand. Terry acted as muse to both Julia Margaret Cameron and Charles Lutwidge Dodgson (Lewis Carroll).