#Elizabeth Morris

[casullcasket]

Hellsing OC Masterpost

(Sorry if this post makes zero sense..)

The general premise:

It takes place post-time skip, there is some sort of international threat (still under development) that leads the Hellsing Organization to have to travel to America. However, the US government figures this out and says if they want to continue their investigation without legal persecution they have to work with their own vampire-fighting organization: Morris Co.

The characters of Morris Co are meant to be ‘mirrors’ of those in the Hellsing organization.

Morris Co:

(Since Quincey Morris was shown being dead at one point; I basically just added in ‘he left behind a son’ and made Quincey Morris a widower (which is why he proposed to Lucy))

Morris Co is a very similar organization to Hellsing, dealing with any supernatural threats that threaten the US. It was founded by Quincey Morris, and gained a reputation after he captured and sealed away ‘The Headless Horseman.’ After Quincey’s death assisting Abraham Van Hellsing in capturing Dracula, his son, James Morris, took over the company.

Inspired by the the Hellsing Organization’s idea of using Count Dracula (Alucard) as their own personal weapon, James decides to unseal the monster his father had captured for the same purpose. He coins the name ‘Bishop,’ which the horseman uses from then on.

The present-day head of Morris Co is Elizabeth Morris, the granddaughter of Quincey Morris. The organization works closely with the CIA, and receives large sums of money from the government.

Elizabeth Morris:

As stated before, Elizabeth Morris is the head of Morris Co as Quincey Morris’s ancestor. She uses a regenerator, as well as carries silver throwing knives and a gun with silver bullets on her person for protection.

Unlike Integra, she keeps a much more hospitable and ‘professional’ attitude, dealing with things with a calm demeanor. However, this nice demeanor is simply just courtesy. She cares very little about the civilians she is supposedly trying to protect, but rather cares most about “getting the job done.” She is willing to put her men and civilians lives in danger for the sake of protecting Morris Co’s reputation and continue receiving government funding.

To put in simple terms: Integra seems harsh, but she genuinely wants to protect humanity, and cares for those who work under her. Elizabeth, on the other hand, seems friendly and hospitable actually only cares for profit, and she sees the people who work under her as mere pawns to serve her interests.

Bishop:

Bishop is Morris Co’s ‘Trump Card,’ a willpower vampire that once roamed the west under the title of ‘The Headless Horseman.’ (More notes on how that works in the pic)

Bishop’s backstory follows a similar story to the story of the Headless Horseman, an American Revolutionary War soldier gets his head blown off by a canon in the battlefield. However, all the blood flows to him and he becomes a Willpower Vampire, and his head regenerates ‘wrong’ (like Seras’s arm). He spends many years wandering around the US as an undead legend before being defeated by Quincey Morris. He is sealed away in a locked coffin for many years before James Morris unsealed him. After his release, he takes a slightly different form to better ‘blend in’ with the humans he lives with.

He comes off as a “strong silent type” at a first glance, though over time it becomes more apparent he is under an unspoken ‘do not speak unless spoken too’ rule. This becomes confusing for him when members of Hellsing talk to him semi-casually, or when he sees Seras and Alucard talk to Integra casually.

When he does speak, he talks with a heavy southern accent, uses a lot of contractions/slangs, a kind of opposite way of Alucard’s sort of regal way of talking.

Also, unlike Alucard, he isn’t one to push buttons, and l will back down if Elizabeth (or later Integra) shows any sign of hostility or irritation because his relationship with humans is much more rocky. He will still keep his ‘tough guy’ front by acting like he doesn’t care. For example he’s likely to shrug something off and go “alrighty then” instead of argue his point.

Elizabeth and Bishop don’t have any sort of friendliness between them the way the members of Hellsing do, nor does Bishop really see any honor in what they do because he can see past her friendly front.

He is also much more likely to take bullets for/protect humans, because he sees it as his responsibility to do so. He sees humans in a similar way a farmer sees his livestock, a way that is still ‘below him’ but also has a bit of respect and care to it.

In the same allegory as Alucard = Guarddog, Bishop = sheepdog.

[srsnm]

Décimas

De noche muestra la luna, su rostro alumbrado y triste.

El cielo al fin se desviste, la muerte mece su cuna.

Que al fin la mala fortuna se vaya a dormir un rato, se quite traje y zapatos, se olvide mi existencia.

Que yo frente a su sentencia declaro mi desacato.

[fayriequeene]

Some of the Pre Raphaelite artwork at Wightwick

[thebeautifulbook]

THE SCOTTISH FAIRY BOOK by Elizabeth W. Grierson (New York: Stokes, 1910) Illustrated by Morris Meredith Williams.

source

[uwmspeccoll]

It’s Fine Press Friday! 

Today we’re leaning into the drama with a 1910 edition of Poems from notorious bohemian and (unofficial) Pre-Raphaelite Brotherhood (PRB) member Christina Rossetti (1830-1894). This vellum covered, gilt stamped, 369-page tome was printed on Unbleached Arnold paper by the Villafield Press in Glasgow and published in limited run of 350 copies in London by Blackie & Son under the art direction of Talwin Morris. It features a praiseful yet cutting introduction from fellow poet, critic, and suffragist Alice Meynell (1847-1922) along with a wealth of illustrations (70 plates) by Florence Harrison (1877–1955) , an Australian illustrator of poetry and children’s books who worked extensively with Blackie & Son. Harrison’s style was inspired by the Romantic Era and the nature-worshipping, hedonistic values of the Art Nouveau and Pre-Raphaelite movements of the time. Fittingly, she also illustrated the works of fellow PRB poets William Morris (1834-1896) and Alfred Tennyson (1809-1892).   

While many of the poems included are overtly devotional and express themes of purity, motifs of romantic love, limerence, melancholy, and death permeate the mood of the text as a whole. The Rossetti family, particularly Christina’s brother Dante Gabriel Rossetti (1828-1882) (poet, illustrator, painter, translator, and co-founder of the PRB) and Elizabeth Siddal (1829-1862) (artist, iconic art model, poet, and Dante’s longtime partner, muse, and eventual wife), are known for their exploits, excesses, creative legacy and influence on the culture of the era. Christina published her first poem at only 16, and Siddal posed for Millais's Ophelia at 19. The radical, passionate nature of the philosophies and lifestyle they embodied was as much a product of the intensity and privilege of their youth as of the Renaissance ideals and Victorian mores they rebelled against.   

For a deeper dive on the Rossettis and their generation, check out this recent exhibition at the Tate Modern.  

View another Christina Rossetti post

View another Dante Gabriel Rossetti post

View another Pre-Raphaelite post

View more Art Nouveau posts

--Ana, Special Collections Graduate Intern

[hairtusk]

all my mutuals have an artistic victorian woman they're woefully bonded to for life. mine's elizabeth barrett browning.

[variouspolltournaments]

Anti-Propaganda is not allowed. Please only give reasons to vote for something and not give reasons to vote against something.

[citizenscreen]

Greg Morris, Elizabeth Montgomery, Allen Ludden, and Tom Kennedy are the contestants in the 1974 episode of “Password” hosted by Monty Hall.

[the-most-sublime-fool]

Elizabeth Siddal & Jane Morris

Pre-Raphaelite models as artists in their own right

Photographs of Elizabeth Siddal (left) and Jane Morris (right)

Elizabeth Siddal and Jane Morris are mostly known as artists' models for the Pre-Raphaelite Brotherhood, representing the ideal of feminine beauty for the movement.

Elizabeth Siddal famously modelled for John Everett Millais's Ophelia (1852)

Jane Morris in paintings by Dante Gabriel Rossetti: Proserpine (1874) + The Daydream (1880)

But both women were also artists themselves.

Elizabeth Siddal

In the paintings and drawings she modelled for, Siddal is never depicted as looking directly at the viewer. Instead, she is languid and lovely, gazing off dreamily into the distance or closing her eyes, like in the examples below.

Elizabeth Siddal in paintings by Dante Gabriel Rossetti: Regina Cordium (1860) + Beata Beatrix (1870)

Her self-portrait, however, presents a fascinating contrast.

Elizabeth Siddal's self-portrait (1854)

Her expression is stony and her gaze is direct. She knows you're looking, and she's looking right back. It reminds me of the Agnès Varda quote,

“The first feminist gesture is to say: OK, they're looking at me. But I'm looking at them.”

Here are some more of Siddal's own paintings below.

Her style is distinct and striking.

Lady Clare (1857), The Quest of the Holy Grail (1855), Clerk Saunders (1857), Holy Family (1856)

Jane Morris

Jane Morris was not a painter herself, but an embroiderer, bookbinder, and calligrapher.

She came from a working-class background and only received an artistic education as an adult, after she married William Morris.

Unfortunately, not much of her work survives, or can be definitively attributed to her, but the two floral patterns below reveal her skill with the needle.

[preraphaelist]

A portrait of Jane Morris with the red hair of Elizabeth Siddal, found unfinished in Dante Gabriel Rossetti's studio at the time of this death.

[no-tengo-ojos]

Victorian Radicals exhibition at the Museum of Birmingham (2024)

Haha so posting this here aswell because that’s what this blog was originally for but I guess I got sidetracked slightly by Malevolent and other things. But these pre-raphaelite pieces are absolutely gorgeous and I’ve been waiting years to see them in person and I just want to share them with everyone xoxo

First image : The Blind Girl - John Everett Millais (1856)

Second image : Valentine Rescuing Sylvia from Proteus - William Holman Hunt (1851)

Third image : Dante - William Holman Hunt (1882-1883)

Fourth image : Prosperine - Dante Gabriel Rossetti (1874)

Fifth image : Medea - Frederick Sandys (1868)

Sixth image : The Lady of Pity - Dante Gabriel Rossetti (1881)

Seventh image : Morgan le Fay - Frederick Sandys (1864)

Eighth image : Beata Beatrix - Dante Gabriel Rossetti (1877)

Ninth image : The Keepsake - Kate Elizabeth Bunce (1899)

More posts of the same to follow

[casullcasket]

Finally finished Elizabeth’s ref!

[itsybitsy-arthistory]

Delaware Art Museum 14/12/23

[lgbtqreads]

Inside an Anthology: Joy/Us ed. by Cherry Potts and Jeremy Dixon

Today on the site I’m delighted to spotlight Joy/Us, an anthology of poetry edited by Cherry Potts and Jeremy Dixon and published by Arachne Press! Here’s a little more about the collection: Arachne Press has long been a champion of LGBTQ+ writers, but we’ve never before published an anthology of LGBTQ+ poetry. These are joyful poems that celebrate all that is best about our community/ies and…

[uwmspeccoll]

Wood Engraving Wednesday

LINDA HOLMES

English wood engraver Linda Holmes (1950-2015) has provided engraved illustrations for three publications by the Lewisburg, Pennsylvania Press of Appletree Alley. One of those books is Printing as Art: William Morris & His Circle of Influence printed in an edition of 150 copies by Juanita Bishop and Appletree Alley's founder Bernard Taylor in 1994. The book presents correspondence held at Bucknell University by William Morris to T. J. Cobden-Sanderson, William Butler Yeats to his sister Elizabeth (Lolly) Yeats (co-founder of the Dun Emer Press and the Cuala Press), and Elizabeth Yeats to Emery Walker, as well as reprinting George Bernard Shaw's essay "Shaw on Modern Typography."

Linda Holmes trained as a journalist with the BBC and became a presenter for the network's Newsnight from 1980 to 1983. In 1985, she and her husband, BBC journalist David Holmes, retired from London to Walpole, in Suffolk. In 1989, Holmes attended Camberwell School of Arts and Crafts (now Camberwell College of Arts) to study wood engraving under Simon Brett and Yvonne Skargon. Holmes enjoyed a 25-year career as both a wood engraver and a painter until her death from pancreatic cancer at the age of 65.

View more posts with wood engravings!

[bigenderteruki]

Before halloween ends im gonna post these obligatory mp100 oc demon outfit redraw (now featuring Mie!)

Different from how i usually draw Kind of a hybrid style of mine and the official art 👍