Author: Stephanie Chatfield

  • Pre-Raphaelite: Not a Look, a Movement

    Pre-Raphaelite: Not a Look, a Movement

    Somewhere along the way, “Pre-Raphaelite” became shorthand for a look: abundant hair, pale skin, some moody greenery. A woman who seems to have wandered out of a medieval daydream and into your Pinterest feed.

    I understand the appeal, but when we reduce the Pre-Raphaelites to solely an aesthetic, or a vibe, we miss the thing that made their work so unnervingly alive.

    The Pre-Raphaelites weren’t a hairstyle. They were a worldview.

    They treated nature not as backdrop but as a living language. A river wasn’t scenery; it was fate. A flower wasn’t decoration; it was a message. The world itself seemed to press in with meaning.

    And they treated stories the same way.

    Mariana, Sir John Everett Millais
    Mariana, Sir John Everett Millais

    Myths, legends, Shakespeare, Arthurian romance… these weren’t merely escapism. They were serious material, charged with warnings and longings. Their paintings don’t merely “illustrate” a tale; they interrogate it. Who is being sanctified? Or being punished? Who is being turned into a symbol instead of allowed to be a person?

    That last question matters more than ever, because the visual internet trades in symbols. A tragic girl. The beautiful woman framed as a mood, “Opheliacore,” the languid gaze, the hair like a halo. The Pre-Raphaelites gave us many of those visual templates.

    They also, if we’re honest, helped build the cage: the idea that beauty is virtue, that suffering is poetic, that women look best when they are luminous and still.

    Just look at Millais’ Ophelia, or Waterhouse’s The Lady of Shalott. Women suspended in a moment of aestheticized tragedy, turned into icons of doomed grace. (See Pre-Raphaelite Women at The Victorian Web and the Pre-Raphaelite Collection at The Tate.)

    The Lady of Shalott, John William Waterhouse
    The Lady of Shalott, John William Waterhouse

    Which is why we shouldn’t throw the aesthetic away. We should wake it up.

    If we love Pre-Raphaelite beauty (and of course we do!) we can love it with our eyes open, looking past the hair and ask what the painting is teaching you about desire, virtue, power, punishment, and the cost of being seen. Let the art be both gorgeous and complicated. Roses with thorns.

    Because that’s the real inheritance.

    Not the curls.

    The way of seeing.

  • A Guggums Ghost Story: The Laugh in the Stairwell

    A Guggums Ghost Story: The Laugh in the Stairwell

    A flat in Blackfriars, a winter evening, and a sound you can’t quite place… A Light in the Stairwell begins in the sort of domestic quiet that usually feels safe. But this is a Guggums ghost story, where the hauntings don’t arrive as shrieks; they arrive as details: it could be a glow where no lamp has been lit, a pause between footsteps, or a familiar corridor that suddenly seems to have learned your name. Step in gently, keep your hand on the banister, and follow the light upward, because whatever waits on the landing wants to make you look.

    The Laugh in the Stairwell

    by Stephanie Chatfield

    At Chatham Place the river was never content to stay outside. It crept into the rooms the way damp does, quietly, without apology, so that even on Christmas Day the air smelled faintly of coal smoke and wet stone, and the windowpanes held a film you could not quite wipe away.

    Punch, curled like a small ember on the rug, lifted his head and growled at nothing. It was not his usual officious bark, the one he saved for footsteps and knocking and the insolence of deliveries. This was lower, and doubtful. Something in the room had shifted a fraction, and he had noticed.

    1854lizzie

    Lizzie glanced up from the mantel where she was attempting, without much success, to arrange a sprig of greenery so it looked intentional rather than desperate. “It’s only the house,” she said, half to Punch, half to herself. But the words landed oddly, as though the house had somehow been listening and found them amusing.

    Gabriel, of course, paid no attention. He was at his table, ink on his fingers, a half written line pinned beneath his hand like a captive moth. He had that expression he wore when he believed the world must yield to him if he stared hard enough. Lizzie watched him with a fondness, knowing his penchant for perfection.

    christmas holly

    There was a knock at the door. Quick, insistent, cheerful.

    “Now that,” Lizzie said, brightening, “is not a ghost.”

    Gabriel opened it to Algernon Charles Swinburne, who swept in like a gust of scandal, his coat flung wide, cheeks pink from cold and eyes alight with mischief. He brought with him, as he always did, a sense that the day might become an event rather than a collection of mundane moments.

    “My dear sinners,” he declared, kissing Lizzie’s hand with theatrical devotion, “I have come to rescue you from domestic virtue.”

    “I was just about to become virtuous,” Lizzie said gravely. “You’ve ruined everything.”

    Swinburne’s laugh was sharp and delighted. He adored Lizzie’s dry humor; he treated it as an intelligence test the world had failed but she had passed. Punch, usually suspicious, allowed Swinburne a brief sniff of approval, then with renewed uneasiness, continued watching the corner by the stair.

    tea cup

    They had tea that felt thin, because everything in London was thin in winter except the fog; and Swinburne told stories. He had a talent for making even ordinary incidents sound like conspiracies undertaken by the Fates. Lizzie laughed, really laughed, her shoulders loosening, her eyes brightening. Gabriel watched with an expression that was both proud and oddly anxious. Joy in her was something he wanted to protect.

    It was while Swinburne was in full flight, recounting some absurd scene in Paris, his hands conducting invisible music, that the sound came.

    A laugh.

    Not Swinburne’s. Not Lizzie’s or Gabriel’s.

    A woman’s laugh, low and intimate, the kind that belongs in a room among friends, not an empty stairwell.

    It rose from the narrow space behind them, the little passage by the steps, Thin, breathy, almost tender, and then stopped too neatly. It seemed that whoever laughed cut herself off the instant she remembered she was not meant to be heard.

    The teacup in Lizzie’s hand paused halfway to her lips.

    Swinburne, remarkably, fell silent.

    Punch stood. Every hair along his small spine lifted. He did not bark. He stared.

    Gabriel’s face tightened. “Did you…”

    Christmas holly

    “Yes,” Lizzie said, and set down her cup with exaggerated care. A careless clink felt suddenly, absurdly impolite. The house demanded manners in exchange for whatever it had chosen to reveal.

    Swinburne recovered first. “Well,” he said lightly, “if we are to be haunted, let it be by a woman who appreciates wit.”

    Against her better instincts, Lizzie chuckled.

    Another echo of a laugh, then, fainter and farther, a sound of someone attempting to imitate Lizzie and failing.

    Lizzie’s stomach went cold in a slow, steady way. It was not the laugh itself. It was the timing of it; the way it arrived on cue, the way the house waited for Lizzie to laugh first and then decided it could do it better.

    Gabriel stood, abruptly. “This is nonsense.”

    He strode to the stair, candle in hand. The flame made a faint halo in the passage. The stairs rose tight and steep, disappearing into shadow. Nothing moved.

    “Hello?” Swinburne called, his fear already turning into another story he could tell. “Madame Ghost, are you in need of tea or verse?”

    Punch darted forward and then stopped, rigid, at the base of the first step. He whined once, quiet and disbelieving. His whine made Lizzie’s skin prickle more than the laughter had.

    Because Punch, for all his foolish pomp, did not whine unless something in the room had become wrong.

    Lizzie rose and went to Gabriel, her hand closing on his sleeve. “Don’t,” she said softly.

    He looked at her, impatient. “It’s…”

    But he didn’t finish, because the laugh came again, close now, right beside them, so close it seemed to brush their ears. And this time it was unmistakably Lizzie’s laugh. The exact cadence of it. The same quick, delighted intake at the end.

    Lizzie felt as if the floor dropped slightly beneath her feet.

    Swinburne’s eyes widened. “That,” he said quietly, “is in devilishly bad taste.”

    Gabriel lifted the candle higher, furious, as if his anger might force the unseen to become visible. “Show yourself.”

    Mirror

    The candle flame wavered.

    In the little oval mirror nailed beside the stair, a cheap, practical thing Lizzie barely noticed day to day, its glass deepened for an instant, like dark water.

    And Lizzie saw, not a face, but a gesture.

    A pale hand at the edge of the frame, fingers curled as though holding the mirror from the other side.

    Not reaching out.

    Holding on.

    It was her own hand, Lizzie realized with a shock of recognition. The same long fingers, the same slight bend at the knuckle.

    Her hand, yet not her hand.

    It wanted to be her. Or had already decided it was.

    Lizzie stepped forward with a decisive manner that brought Gabriel to a standstill.

    She didn’t raise her voice or argue. Instead, she did the simplest, most domestic thing imaginable.

    She took a small cloth from the table, an ordinary cloth, stained with tea in one corner, and covered the mirror.

    The laughter ceased at once, as if the house had been cut off mid-performance.

    Punch released a single sharp, triumphant bark, and having proved his point, trotted back to the rug and sat down with dignity restored.

    Swinburne exhaled a laugh that was only half real. “My dear,” he said to Lizzie, “you are far more practical than any romantic heroine deserves to be!”

    “I’m tired of romance,” Lizzie said, and surprised herself with how true it was. “It always wants too much.”

    Gabriel stared at the covered mirror. “You can’t just… cover it.”

    “I can,” Lizzie said, and her voice carried a quiet edge that made even Swinburne look at her with something resembling respect. “Because it wants attention. It wants us to fuss and stare and invite it closer. And I won’t.”

    Swinburne’s wit cautiously resurfaced. “Then let us be dull,” he declared. “Let us be painfully alive and ordinary. Let us eat and drink and offend all spirits with our unpoetic domesticity.”

    Lizzie smiled. Gabriel, after a moment, did too, reluctantly, smiling being something of an awkward concession.

    They went back to the table. Tea was poured again. Swinburne began a new yarn on purpose, louder than before, filling the small rooms with human noise, partially illuminating the gloom.

    And once, only once, Lizzie thought she heard it again: the faintest echo of a laugh from the stairwell, not mocking now, but sulky, like a bitter guest turned away.

    She did not look.

    She kept her eyes on Punch, warm and solid on the rug. On Swinburne’s animated hands. On Gabriel’s eyes, softened by the sight of her smiling.

    Outside, the river moved on, indifferent. Inside, the house settled into its small, stubborn life.

    The cloth remained over the mirror.

    Yet, something lingered behind it, jealously listening to the spirited sounds of the living.

    christmas bow
  • Color Harmonies, Explained (With Rossetti as Our Mischievous Guide)

    Color Harmonies, Explained (With Rossetti as Our Mischievous Guide)

    Color harmony sounds like a polite term, as if it should wear a waistcoat and speak softly in a museum.

    But in practice, it’s closer to a well orchestrated conspiracy: colors making private agreements in the corner of a painting, deciding who gets to glow, who must recede, and who will quietly ruin the mood.

    To keep it simple: color harmony is the way colors relate to each other so the image feels unified, even when the scene is tense, eerie, or emotionally unsteady.

    Today we’ll use two Rossetti paintings as our case studies:

    • The First Madness of Ophelia a bright, jewel toned stage where color plays court politics.
    • How They Met Themselves  a dark forest where color whispers, doubles back, and does something unsettling behind your shoulder.

    The Four Harmonies You’ll Actually Use

    Analogous harmony (neighbors on the color wheel)

    Colors that sit beside each other: like green/blue/teal, or red/orange/gold.
    Effect: calm, cohesive, “all from the same world.”

    Complementary harmony (opposites)

    Colors across the wheel: like red/green or blue/orange.
    Effect: drama, vibration, attention. It’s the visual equivalent of someone saying, Excuse me? in a drawing room.

    Triadic harmony (three evenly spaced colors)

    Think red, blue, yellow (or versions of them).
    Effect: lively balance, storybook clarity, controlled energy.

    Tonal harmony (one family, many values)

    A limited palette with shifts in light/dark rather than hue.
    Effect: atmosphere, unity, mood, like fog in paint form.

    The First Madness of Ophelia: Harmony as Social Theater

    In The First Madness of Ophelia, Rossetti gives you a scene that feels decorative on first glance (gold, blue, red, green) until you notice how carefully the colors are arranged, like people placed at a dinner table to cause maximum tension without anyone “making a scene.”

    madness of ophelia
    The First Madness of Ophelia; Dante Gabriel Rossetti

    What you’re seeing, harmonically

    A blend of complementary and triadic harmony:

    • Blue (Ophelia’s dress) acts as the emotional anchor; cool, steady, and a bit removed.
    • Gold/orange (the background) presses forward, warming and enclosing her. It’s rich, theatrical, almost airless.
    • Red accents (in clothing and details) spike the whole arrangement with urgency.
    • Greens (notably in surrounding garments) act as a mediator. Earthy, tempering, but also quietly ominous.

    Why it works

    Rossetti is balancing hot vs. cool and stillness vs. flare:

    • Blue vs. gold is a classic complement (cool/warm opposition).
    • The red notes keep your eye moving like gossip traveling across a room.
    • The gold ground unifies everything, like varnish on a secret.


    This painting is what happens when Blue tries to remain composed at a party, Gold keeps leaning too close, and Red keeps interrupting with scandalous remarks. Meanwhile Green stands by the wall pretending to be helpful while taking notes.

    Takeaway you can use

    If you want a composition to feel coherent but tense, try this:

    • Choose one dominant color (Ophelia blue)
    • Surround it with its warm opposite (gold/orange)
    • Add tiny red “alarms” to direct attention

    How They Met Themselves: Harmony as a Trap

    This Rossetti painting is a very different creature: a forest scene, dim and enclosed, where figures double and the atmosphere feels like it’s holding its breath.

    Dgr Metthemselves
    How They Met Themselves, Dante Gabriel Rossetti (1864) Two lovers walk through a forest and encounter their own doppelgangers.

    What you’re seeing, harmonically

    Tonal harmony with a controlled red/green complement:

    • The whole painting lives in a restricted world of deep greens, browns, and black.
    • That limitation creates tonal unity, everything belongs to the same air, the same hour, the same moral weather.
    • Then Rossetti introduces red in small but strategic places (trim, details), and suddenly the image has a pulse.

    Why it works

    When you limit hue, value (light/dark) and temperature become the drama:

    • The forest is a single harmonic “key”, like a piece of music that refuses to modulate.
    • The figures feel caught inside it, because the palette doesn’t offer an escape route.
    • Red becomes the signal flare: not enough to brighten, just enough to warn.

    Perhaps this forest is not merely a forest. It is a well trained predator wearing green. The reds are its teeth, kept politely out of sight until you’re close enough to notice.

    Takeaway you can use

    If you want mood (and mild dread) in your own palette:

    • Keep most colors in one family (greens/browns)
    • Push contrast using light/dark values
    • Add a small complementary accent (a controlled red) to make the image feel “alive”

    A Simple Way to Spot Harmony in Any Painting

    1. What color dominates? (the “boss”)
    2. What color opposes it? (the “argument”)
    3. What color connects everything? (the “glue”, often golds, browns, grays, or repeated neutrals)

    In Ophelia, the glue is that golden atmosphere.
    In How They Met Themselves, the glue is the dark green/brown tonal world.

    Try This: Two Quick Color-Harmony Exercises

    Exercise A (Ophelia style)

    Pick:

    • 1 dominant cool (blue)
    • 1 enclosing warm (gold/orange)
    • 1 small alarm accent (red)

    Use it in a mood board, a room palette, a graphic… anything. Keep red small.

    Exercise B (Forest style)

    Pick:

    • 3 related darks (greens/browns/near-black)
    • 1 tiny opposite accent (red)

    Make the mood work by shifting light/dark, not adding more colors.

    Rossetti understood that harmony isn’t the same as happiness. Sometimes harmony is how a painting locks a feeling in place, beauty arranged so perfectly it becomes a kind of spell.

    And if you’re thinking, That’s dramatic for a color wheel, well… that’s exactly the point.

  • She Asked to Be Remembered: Rossetti’s La Pia de’ Tolomei

    She Asked to Be Remembered: Rossetti’s La Pia de’ Tolomei

    In 1868, Dante Gabriel Rossetti painted Jane Morris as La Pia de’ Tolomei, a figure drawn from Dante Alighieri’s Purgatorio. Pia appears in Canto V, where she is encountered not in the blaze of Hell, but in that more chilling middle country where souls wait for release.

    Her story is brief in Dante, and therefore merciless. Her plea is simple:

    Please remember me, who am La Pia.
    Siena made me, in Maremma I was undone.
    He knows how, the one who, to marry me,
    first gave the ring that held his stone.”
     

    With quiet sorrow, she points to her wedding ring, which allows us to understand that the hand that placed it is also the hand that ended her life.

    Her husband, Nello, wanted another marriage, one with a countess, and so he removed Pia the way a man removes a troublesome object: by shutting it away.

    Pietra Castle becomes the site of her imprisonment, isolating her from the world. That is the scene Rossetti gives us: Jane Morris (as Pia) seated in that high, enclosed place, the air heavy with leaves and time. In the distance rooks traverse the sky like black annotations, marginalia added to a story whose ending is already fixed.

    What is most unsettling is how little drama Rossetti allows her. Pia does not claw at the stone. She does not beg. She sits with the calm of someone forced into stillness so long it has begun to resemble her nature.

    Her face is turned inward; her fingers return to the wedding ring, not lovingly, not even angrily, but with the dazed attention of someone touching the evidence of their own captivity.

    Strip away the medieval castle and the Dantean tragedy and you find the story’s core: a woman sealed inside a life arranged by cruelty instead of love.

    Like the Lady of Shalott, or Mariana in her moated house, Pia is not simply lonely, she has been removed from the human current. She exists apart. The world continues without her, and that, more than death, is the punishment.

    And so her simple request matters. Not grand justice. Not revenge. Only this: 

    “Remember me.”

    To be remembered is to be known. It is to insist, quietly, stubbornly, I was here. I felt. I mattered. 

    Pia asks for remembrance because forgetting is the final violence.

    Being erased is worse than being wronged.

    That is why La Pia de’ Tolomei still catches at the throat. It does not have to be about marriage alone. People are exiled in other ways. By duty, by grief, by the slow, reasonable compromises that become a prison before you notice the door has disappeared.

    The most dangerous confinements are the ones you decorate, the ones you call “fine.” What you learn to endure until endurance begins to feel like identity.

    Pia languished.

    We do not have to.

    I think that if the Pia of this painting could speak to us, she might say something like this:

    Go and live so authentically, and so fully that you cannot be lost to yourself.”