Interview With a Muse


Fair Rosamund and Queen Eleanor 1862 by Sir Edward Coley Burne-Jones, Bt 1833-1898


Yesterday, at three, my Muse-To-Be entered the Wandering Goat, and stood before me. I was seated at a table for two, and two young men were helping me get my computer on the free wifi. Belle spoke;

“Is this a kneeling party. May I join in?”

When Belle knelt (before me) the young men looked up to see this beautiful young woman of twenty-three, and, they quietly moved away.

And, there she stood, after putting this giant blue skateboard in the corner. I could not move as I took her in. Belle was letting me see her face bathed in a soft light. She had on her angel face and was letting her light-blue angel eyes send a force of energy my way.

“Well?” I heard her say without moving her lips, and I now rose, came close to her, and gave her a long gentle hug. She did the same.

After saying I thought I would never see her again, I dished out my first compliment;

“I love your hat!”

Belle was in her tough-dude outfit, I assume to go with her skateboard. Her shoulders were bare, and her black trousers were tapered a foot above her shoes. On her left wrist she had this wrist-band, a kerchief. I was reminded of Christine’s painting ‘Gamine’ who is a Waif. This was an oil-wash, a style I developed when I was seventeen, that Rosamond asked me about in regards to how to keep the oil from drying too quickly so you can work it longer. This young girl was inspired by Tatum O’Neil who starred with her father in Paper Moon.

My friend Bryan McLean introduced me to Ryan at University High School. Bryan had dated Liza Minelli, and learned to swim in Elizabeth Rosemond Taylor’s pool, who I discovered was my kindred seven years ago. Carrie Fisher is also my relative who wrote a screenplay about Christine Rosamond, she not knowing they were related. What these women constitute – along with Mary Magdalene Rosamond and her four beautiful Rosamond daughters – is the Pre-Raphaelite Sisterhood.

Here is an article that ties Princess Leiah’s hair buns to a Pre-Raphaelite painting.

It was into this Sisterhood I was going to admit Belle Burch, because on the phone I told her I was going to make her heir to my history of the Bohemians.
Belle is an artist and poet. Her mother was a creative being.

“Who are you? Tell me about yourself!”

“Is this a job interview?” Belle asked me, she letting me feel the full force of her extremely animated being – that made my heart flutter! She is stirring dormant blood. It has been a very long time that I sat in a Bohemian Café a yard away from a Gypsy Dream, who will tell me she is a dancer an hour and half later! I am having one of the most brilliant and creative conversation I have ever had. Belle quickly surmises, for me, this is better than sex!

“You are a lover that loves deeply, aren’t you?”

Belle, reads me one of her poems, and I read her my poem ‘Mon Belle’. I look up from the computer screen to see she has leaned forward and has her eyes closed. Upon her lips, is the smile of the Mona Lisa. I am in love. But, what is the nature of this love?

“We are inventing a new relationship between Muse and Artist!”

We are both brilliant beyond belief. Belle studied literature in college. She does this routine about her title as ‘Grammar Nut’ after she corrects me on the pronunciation of ‘Muse’. She would later offer her services as a proofreader. I have prayed that such a person would come into my life.

When Belle tells me about the image on the postcard on her window sill, I tell her who painted it, and she is impressed, but not as much as I as she took a invisible rose in her beautiful hand, and smelled it.

“Belle! Please let me record this conversation with my camera!”

From the beggining I told her this is a historic meeting between a Muse and Artist, that has never been filmed. The World of Art needs our scene to be put in a Museum! I did not get Belle’s permission. With a video I can freeze-frame and thus escape the posing trap, and the arduous duty to mentally record the most beautiful things I have seen – with voice!

When I handed Belle the papers I got at the Eugene Museum, I told her I wanted to get down on my knees as I did this – awakening of the sleeping kingdom!

“I almost stopped and bought you a tierra so I could place it on your head.”

I show Belle that paintings Rossetti did of his muse, Elizabeth Siddel. She had to agree they looked alike. I was working up to a offer, that was finally made, and agreed upon, being, Belle will pose for the painting I have wanted to do of Fair Rosamond for ten years. Below is an article on Muses that mention Siddel and her complex relationship with Rossetti, who had Joaquin Miller over for dinner.

When I alas met my lost daughter, and took her mother to see Jack London’s Wolf House, I told her about the horrible attempt to rest my families creative legacy away from my family. London and Miller were friends, and members of the Bohemian Club.

Belle, and my readers need to study the relationship between artist and muse, before we take that next step – into the light! Belle tells me she wants to be a great communicator and bring people together.

“How do I know you are not superimposing your world view upon me. It seems to good to be true! How can I trust you?”

“Very good question! This is why you were chosen. You ask very good questions in a very disarming way.”

Everyone wants to believe they have free will, even Christians. I tried to tell Belle she has arrived, here, on her own. Where is, here? We are in the Labyrinth of the Rose of the World, hot on the trail of Rouge Thread.

Note the hand on the wall of the woman smelling a rose. Is she going to open a secret door? Note how the archway at Wolf House looks like the archway in Pan’s Labyrinth. Note the blue ball of light that lie between Belle and I as she writes. I had pointed out how her hand and arm appear to be erasing her conversation and replacing it with a improved idea, a better version. This is similar to Blowing Roses, a psychic technique. For almost two hours we played with this blue ball, and, then she got a call. She had to go home. She wanted to stay and play some more. My heart was full of woe I watcher Belle ride away on the Beautiful Blue Bicycle. I forgot to ask is I could call her BB.

Jon Presco

Copyright 2014

belle3 003





A waif (from the Old French guaif, stray beast)[1] is a living creature removed, by hardship, loss or other helpless circumstance, from its original surroundings. The most common usage of the word is to designate a homeless, forsaken or orphaned child, or someone whose appearance is evocative of the same.

As such, the term is similar to a ragamuffin or street urchin, although the main distinction is volitional: a runaway youth might live on the streets, but would not properly be called a waif as the departure from one’s home was an exercise of free will. Likewise, a person fleeing their home for purposes of safety (as in response to political oppression or natural disaster), is typically considered not a waif but a refugee.

Unlike a large proportion of Waterhouse’s other work, The Soul of the Rose is not a scene taken from a famous or ancient tale of love. Instead it is a study of a woman in a garden thought to be based on the work of Alfred Lord Tennyson. It’s important to keep in mind the themes of many of Waterhouse’s other works though, as similar themes of lost or unrequited love resonate in this picture.

Romance and Sensuality:

Waterhouse often incorporated a great sense of sensuality in his women, whether in the form of naked flesh or simply a delicate look. Restrained sexuality and longing for an invisible love are key themes in The Soul of the Rose and the artist portrays the woman in the picture without any obvious sexuality, but her position against the wall and her delicate hand indicate subtle sensuality.

Burne-Jones treated the story of Fair Rosamund several times in the early 1860s. According to legend, King Henry II created a hidden chamber for his mistress, Rosamund, at the centre of an elaborate maze. There she was discovered and murdered by her rival, Queen Eleanor. While he was a student at Oxford, Burne-Jones visited Godstowe, the presumed site of Rosamund’s grave. But a fresh impetus for his group of pictures came from Swinburne’s verse drama of 1860, which enacts the confrontation of Rosamund and the Queen. The circular mirror is derived from one made by Burne-Jones’s father, but ultimately from that in Jan van Eyck’s Arnolfini marriage portrait in the National Gallery.

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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