103 'THE GARDEN OF EDEN'
by Briton Riviere RA. RE. (1840 - 1920)
Courtesy of The Guildhall Library, London.

It is not possible to do justice to, nor easy to complement this painting with a fictional story about these two young lovers. For they were real people and their romance a true one with the hardships that followed. To the audience in general though, I will attempt to demonstrate the meaning of the picture to those without such privvy information.

This fabulous but unconventional portrayal of a special moment in time, must have taken the established art world aback in 1901, to find their traditional image of Paradise contained two seemingly ordinary people in every-day attire; - not a picture of two classical models who would have only been posing in a traditional manner.

Just look at the detail of Adam's trousers turned up to avoid the puddles! Imagine the gasps at the unveiling ceremony - The moment has arrived - now this new picture titled The Garden of Eden is about to be revealed - My Goodness! What preconceptions can do to the mind! In fact the Painting was created for these two genuine young lovers by Riviere himself to help them financially. For this is a young heiress in real life who had been cut-off from her family inheritence by eloping with this city clerk. The reason was he held no position in Society, therefore was not acceptable as her husband.

"To be in love" is probably the strongest and wonderful of all human emotions. It can even become a state of acute helplessness, against which no one else can or dare try to intervene. It may mean different things to different people, but cannot be described to any who have not experienced this moment of joy. At worst, it is like a drug without which the victim may suffer physical pain, unless frequently administered.
This young couple walking alone through this grey London Square are oblivious to the damp misty day around them. There is an acute sense of starry-eyed magnetism between them. For they are in a world of their own, perhaps floating on a mythical eastern carpet; their feet not touching the ground. They are obviously deeply and utterly in love with each other - they hold each other physically through their hands - hers gently possessing his firm hold of her; at the same time wanting to be possessed. These two are totally enraptured with each others' staring gaze. Her face shines intensely and only for him, lighting up this otherwise murky winter backdrop. Like the magic lantern, she beams only in one direction.

He holds her umbrella as a trophy; an irreplacable treasure - because it is her's. They amble slowly alone, shoulder to shoulder in paradise - and like Adam and Eve long before - are immersed in this Garden of Eden. It is surely the most beautiful place now to be on Earth. Unlike the many other impressions of our greatest ancestors, where the first paradise was usually painted as a sub-tropical forest dripping in fruit. We expect the sun to shine - not to see murkiness and raindrops - Riviere concentrates his composition on the emotional meaning of true love for its own sake.

Because there is nothing else to distract this possessive couple. Her heart will be beating furiously behind that calm expression. His eyes will be rooted to hers, and unlike men who are naturally and mostly attracted as hunters, he is only protective towards her. She will be all too aware of Predetary Man. She will have been warned about such dangers by her mother many times before - how men will be easily excited and frequently lustful towards a beautiful and unattached woman. She knows this young man's thoughts of selfish physical contact will be a million miles away from this tender moment. (Her mother though may have been more ambitious and even selected her future husband).

The cold dripping trees in the background are in marked contrast to their mutual warmth as they stroll slowly along this wet path. Could these rain branches represent the Tree of Life? The artist would certainly have considered all the Biblical aspects of the original scene - and probably of the Original Sin itself when he named the picture. However he must have stopped short of any other representational detail, not to spoil such a beautiful happening.

Wherever they go, everything in life will be enhanced by their happiness, and each chapter in their shared story will be like a new beginning of their adventure together. Long may it last!

Briton Riviere, son of William, not only studied under his father but also J. Pettie and W. Orchardson. He exhibited at the Royal academy in 1854 and became elected 1n 1880. He specialised in painting animals particularly dogs. He was noted for his ability to add humour and sentimentality to most of his subjects.