Tag Archive: Stephanie Cowell

All Hallows’ Eve and All Souls’ Day

by Stephanie Cowell

Dusk which falls early, cooler winds which rise, dry leaves rustling around old gravestones. This last day of October, known as All Saints’ Eve or All Hallows’ Eve (now called Halloween), was a somber season, marking the very ending of the warmth of the earth and the long entry into a cold winter. Its ancient customs are a haunted mixture of Christian and pagan.

Originally celebrated in the middle of lovely May, All Hallows’ Eve was only moved to its present drearier date about eight hundred years ago.

It was a religious eve. In some parts of Europe, bells rang out at dusk for departed souls and people lit candles on graveyard tombs and left them burning all night in the darkness and solitude of the cemetery. In rural Brittany, four men would go from farmhouse to farmhouse ringing bells, asking prayers for departed souls. According to Polish custom, ghosts haunted empty churches at midnight. People would courteously leave windows and doors open the next day in case a ghost wished to come in.

All Hallows’ Eve is derived from the Celtic Night of the Dead. The Celtic people divided the year by four major holidays. The festival observed at this time was called Samhain (pronounced Sah-ween); the Celts believed that this night, the souls of those who had died this past year were traveling their lonely way to the other world, and thus, for those few hours, division between this mortal world and the world to come all but vanished. Ghosts could walk the world and did.

In medieval England, on the 2nd of November (All Soul’s Day), children and the poor went “a-souling,” going from door to door to beg for a special little cake, marked with a Cross, called a soul cake. Each cake eaten would free a soul from Purgatory which, if you look at any medieval church painting, was a pretty terrible place. Turnips were also carved into lanterns as a way of remembering the dead. Soul cakes were left in graveyards to feed the dead and prevent any mischief they might be contemplating.

But why were the dead seen as malevolent? Perhaps because they so envied the living who were sitting home by their fires drinking warm ale? Was this the beginning of Gothic horror tales, stories of vampires and the dead arisen?

What do you think?

 

About the author: Historical novelist Stephanie Cowell is the author of Nicholas Cooke, The Physician of London, The Players: a novel of the young Shakespeare, Marrying Mozart and Claude & Camille: a novel of Monet. She is the recipient of the American Book Award. Her work has been translated into nine languages. Her website is http://www.stephaniecowell.com.

The women who modeled for the Impressionists

By Stephanie Cowell

In 1860 Paris, the lovely models strolled around the famous fountain at Pigalle, hoping an artist would approach to hire them for a few hours or longer. In the winter perhaps they waited in a café, nursing a coffee or an absinthe.

They were not cheap for a poor artist such as the struggling Renoir or Monet; a woman could expect four or five francs for a three-hour session, though that was less than the cost of one of the more expensive new tubes of oil paint. The women were paid more than male models because the height of their beauty had a shorter season but an artist had to buy coal for his stove to warm her and often endure the presence of her mother as chaperone.

Sometimes the young male artists fell in love with their models. Aline Charigot was a seamstress when she met Renoir, but Claude Monet’s lovely Camille Doncieux was of good family and was largely disowned by them when she took off to live in poverty with Claude without so much as a wedding ring.

Edouard Manet had several models. He painted his wife nude but he soon was painting his exquisite artist colleague Berthe Morisot; conjecture varies to this day whether she did more than model for him. His most famous model was likely from the Pigalle professional models. She was Victorine Meurent who posed as Olympe lying nude on a sofa which so enraged the public when it was first shown that men tried to ram umbrellas through it. Manet loved women and who knows what may have occurred between him and the red-haired Victorine?

The years passed and by 1880 the group of men now known as the impressionists slowly became better known. Claude Monet’s love would die tragically young and Renoir’s Aline grow old, fat, a mother of sons, and greatly loved. And Victorine?

Ah, Victorine! Edouard Manet promised to leave her something when he died and she wrote a wistful note to his widow reminding her and saying that she was in need. As far we know, the request was never answered.

And the wintry days waiting for a job at the Pigalle fountain? In 1885 one of the models opened an agency for his colleagues in the boulevard de Clichy and painters and sculptors came there to make their choice not from the models themselves but their photographs. By then the womens rate was ten francs an hour, more if she were very pretty.

Stephanie Cowell, a former classical singer, is the author of five books, including her most recent, Claude & Camille: A Novel of Monet. She lives in New York, with her husband, a poet and reiki practitioner, not far from all the impressionist paintings at the Metropolitan Museum.

IMAGES: Monet’s first painting of his love Camille

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