Rossetti also used his pet wombat as a cruelly comical emblem for Jane’s long-suffering, cuckolded husband

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From Angus Trumble’s lecture “Rossetti’s Wombat: A Pre-Raphaelite Obsession in Victorian England”:

Rossetti finally arranged to buy a wombat, again through Jamrach, when at length a suitable specimen became available. This wombat arrived in September 1869, when he was away in Scotland. Rossetti was recovering from a kind of breakdown, largely precipitated by failing eyesight, insomnia, drugs and above all his growing infatuation with Jane Morris, the wife of his old friend and protégé [William Morris] from the Oxford Union days.

A remarkable drawing of Jane Morris and the wombat in the British Museum illustrates the degree to which lover and pet merged in Rossetti’s mind as objects of sanctification. Each of them wears a halo. But Jane has the wombat on a leash, and it seems clear that Rossetti also used his pet wombat as a cruelly comical emblem for Jane’s long-suffering, cuckolded husband. Since university days Morris was known to his friends as ‘Topsy’; the name Rossetti chose for his Wombat was ‘Top’.

Still shaky, Rossetti could not wait to get back to Chelsea from freezing Scotland. He wrote to Janethe following mock-heroic lines:

Oh! How the family affections combat
Within this heart; and each hour flings a bomb at
My burning soul; neither from owl nor from bat
Can peace be gained, until I clasp my wombat!

The Invalid – Cheyne Walk 1869 — Walton Ford

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The Invalid – Cheyne Walk 1869, 2017 by Walton Ford (b. 1960)


The painting refers to the pet wombat of the Pre-Raphaelite painter Dante Gabriel Rossetti’s pet wombat Top, who died not long after Rossetti acquired the poor marsupial. From Angus Trumble’s fantastic lecture “Rossetti’s Wombat: A Pre-Raphaelite Obsession in Victorian England”:

In September 1869, Dante Gabriel Rossetti bought the first of two pet wombats….In the 1860s, Rossetti often took his friends to visit the wombats at the zoo, sometimes for hours on end. On one occasion Rossetti wrote to Ford Madox Brown: ‘Dear Brown: Lizzie and I propose to meet Georgie and Ned [the Burne-Jones] at 2 pm tomorrow at the Zoological Gardens—place of meeting, the Wombat’s Lair.’ In this period a number of new wombats arrived at the Regent’s Park Zoo: a rare, hairy-nosed wombat on 24 July 1862, and two common wombats despatched from the Melbourne Zoo on 18 March 1863. As well, Rossetti made regular visits with his brother, William Michael, to the Acclimatisation Society in London and its counterpart in Paris, to keep an eye on the hairy-nosed wombats residing in both places. This was no passing fancy.

Earlier, in 1862, Rossetti had moved to Tudor House, at 16 Cheyne Walk, Chelsea. Spacious, with plenty of room for family and friends including George Meredith and the deeply unattractive poet and semi-professional sadomasochist Algernon Charles Swinburne—who liked to slide naked down the banisters—the house had four-fifths of an acre of garden, with lime trees and a big mulberry. As soon as he arrived, Rossetti began to fill the garden with exotic birds and animals. There were owls, including a barn owl called Jessie, two or more armadillos, rabbits, dormice and a racoon that hibernated in a chest of drawers. There were peacocks, parakeets, and kangaroos and wallabies, about which we know frustratingly little. There was a Canadian marmot or woodchuck, a Pomeranian puppy called Punch, an Irish deerhound called Wolf, a Japanese salamander and two laughing jackasses. We know the neighbours were tolerant up to a point but Thomas Carlyle, for one, was driven mad by the noise. At length there was a small Brahmin bull that had to go when it chased Rossetti around the garden, and, in September 1869, a long-awaited wombat.

Shortly before this date there had been a number of animal deaths at Cheyne Walk, so Rossetti raised the animal-collecting stakes considerably. …His object was to purchase a young African elephant, but he balked at the price of £400. Rossetti’s income for 1865 was £2000.

…Soon, however, Top the wombat was ailing. William Michael wrote: ‘The wombat shows symptoms of some malady of the mange-kind, and he is attended by a dog doctor.’ The next day: ‘Saw the wombat again at Chelsea. I much fear he shows already decided symptoms of loss of sight which effects so many wombats.’ At length, on 6 November, the wombat died. Rossetti had him stuffed and afterwards displayed in the front hall.

Rossetti’s famous self-portrait with Top, the deceased wombat, is satirical but was apparently prompted by genuine grief. The accompanying verses are bleak indeed:

I never reared a young wombat
To glad me with his pin-hole eye,
But when he most was sweet and fat
And tailless, he was sure to die!

 

Rossetti’s Wombat Seated in his Master’s Lap — William Bell Scott

Rossetti's Wombat Seated in his Master's Lap 1871 by William Bell Scott 1811-1890

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Rossetti’s Wombat Seated in his Master’s Lap 1871 by William Bell Scott (1811-1890)

Elizabeth Siddal — Dante Gabriel Rossetti

How They Met Themselves — Dante Gabriel Rossetti

The Two Mothers — Dante Gabriel Rossetti

La Pia de’ Tolomei — Dante Gabriel Rossetti

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The Day Dream — Dante Gabriel Rossetti

Elizabeth Siddall in a Chair — Dante Gabriel Rossetti

Dante Gabriel Rossetti’s Death Mask