diff options
Diffstat (limited to '43347-8.txt')
| -rw-r--r-- | 43347-8.txt | 1578 |
1 files changed, 0 insertions, 1578 deletions
diff --git a/43347-8.txt b/43347-8.txt deleted file mode 100644 index 3f1119a..0000000 --- a/43347-8.txt +++ /dev/null @@ -1,1578 +0,0 @@ -The Project Gutenberg EBook of Rossetti, by Lucien Pissarro - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Rossetti - -Author: Lucien Pissarro - -Editor: T. Leman Hare - -Release Date: July 29, 2013 [EBook #43347] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ROSSETTI *** - - - - -Produced by eagkw, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - MASTERPIECES - IN COLOUR - EDITED BY - - - T. LEMAN HARE - - - ROSSETTI - - 1828--1882 - - - - -"MASTERPIECES IN COLOUR" SERIES - - - ARTIST. AUTHOR. - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - VAN DYCK. PERCY M. TURNER. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - WHISTLER. T. MARTIN WOOD. - HOLBEIN. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - VIGÉE LE BRUN. C. HALDANE MACFALL. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - MEMLINC. W. H. J. & J. C. WEALE. - CONSTABLE. C. LEWIS HIND. - RAEBURN. JAMES L. CAW. - JOHN S. SARGENT. T. MARTIN WOOD. - LAWRENCE. S. L. BENSUSAN. - DÜRER. H. E. A. FURST. - MILLET. PERCY M. TURNER. - WATTEAU. C. LEWIS HIND. - HOGARTH. C. LEWIS HIND. - MURILLO. S. L. BENSUSAN. - WATTS. W. LOFTUS HARE. - INGRES. A. J. FINBERG. - -_Others in Preparation._ - - - - - [Illustration: PLATE I.--THE DAYDREAM - - From the oil painting (61½ in. by 35 in.) painted in 1880 and - first exhibited in the Royal Academy in 1883. (Frontispiece) - - This picture was painted from Mrs. William Morris and was left to - South Kensington by Constantine Ionidès, Esq.] - - - - - ROSSETTI - - BY LUCIEN PISSARRO - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - [Illustration: IN - SEMPITERNUM.] - - LONDON: T. C. & E. C. JACK - NEW YORK: FREDERICK A. STOKES CO. - - - - -LIST OF ILLUSTRATIONS - - - Plate - I. The Daydream Frontispiece - From the Ionidès Collection at South Kensington - Museum - Page - II. Ecce Ancilla Domini 14 - From the Oil Painting In the Tate Gallery - - III. Dante drawing the Angel 24 - From the Water-Colour in the Taylorian Museum, - Oxford - - IV. Beata Beatrix 34 - From the Oil Painting in the Tate Gallery - - V. The Bower Meadow 40 - From the Oil Painting in the collection of the late Sir - John Milburn, Bart., Acklington, Northumberland - - VI. The Borgia Family 50 - From the Water-Colour In South Kensington Museum - - VII. Dante's Dream 60 - From the Oil Painting in the Walker Art Gallery, - Liverpool - - VIII. Astarte Syriaca 70 - From the Oil Painting in the Manchester Art Gallery - - - - -[Illustration: Rossetti] - -I - - -About the middle of the nineteenth century Europe woke to the fact that -Art, despite its pretention, had lost all touch with tradition and, -like a blind man deprived of his staff, stood fumbling for direction. -The necessary "point d'appui" took shape in a return to nature. This -return was effected by very different means according to the country -and artistic milieu in which it occurred. In England it was really a -revival of the schools of painting that preceded Raphael and resulted -in grafting the complicated passions of our century upon the naïve -outlook of the early Italians. The more logical mind of the Frenchman -saw that it was not enough to look at nature through the eyes of the -Primitives. The point of view had perforce changed and all that it -was necessary to borrow from the early schools was the sincerity they -brought to the interpretation of phenomena. - -We have been told that, in contrast to the continental movement, the -realism of the Pre-Raphaelites was applied only to noble subjects. But -what is a noble subject? The distinction is a purely literary one. -There are no noble subjects in art; there are only harmonies of line -and colour. For example this school would prefer the rose to the -cabbage as a subject, on account of the symbols attached to it. It is -the Queen of Flowers, the Mystic Rose, &c., &c. But is the rose greater -than the cabbage from a purely pictorial point of view? It depends -entirely upon how far the painter is able to reveal the beauty, the -harmony of form and colour of either. The symbolistic appanage of the -rose will not suffice of itself to make a picture, nor for the lack of -these symbols may we condemn the cabbage. - -The realism of the Pre-Raphaelites developed an absorption in detail, -a "bit by bit" painting that was too often detrimental to the whole. -In the best works of the early Italians the unity is, in spite of that -attention to detail, admirably maintained--in other words the values -are preserved. It was not long, however, before Rossetti quitted the -path of the Pre-Raphaelites for a broader one. His paintings are -entirely symbolistic, therefore literary. Given the personality of an -artist equally gifted as painter and poet, this need not surprise us. -Indeed, seeing that Rossetti's pictorial conceptions are exclusively -literary, he might be considered as more dominantly a writer than a -painter; and this is the light in which he saw himself. We might say -he painted "sentiments" and add that sentiment is the property of -literature, but in Rossetti's case they have at least the advantage of -intensity. They come straight from life, for all his art is more or -less connected with the tragedy of his own existence. Herein lies the -value of Rossetti's works as artistic creations. - - - - -II - - -Rossetti's family, as his name indicates, was of Italian origin. His -ancestors on his father's side belong to Vasto d'Ammone, a small city -of the Abruzzi. The original name of the family was Della Guardia. -Probably the diminutive Rossetti was given to some red-haired ancestor -and retained in spite of the disappearance of that peculiarity. The -grandfather of the poet, Dominico Rossetti, was in the iron trade, -his son Gabriel Rossetti, born at Vasto, became a custodian of the -Bourbon Museum at Naples. He was an ardent patriot and one of the group -of reformers who obtained a constitution from Ferdinand, King of the -Two Sicilies, in 1820. The return of the King with the Austrian army -obliged Gabriel Rossetti, who was compromised by his actions as well -as by his patriotic songs, to make his escape from Italy. He did this -by the help of the English admiral, commanding the fleet in the bay. -Indeed he left Italy disguised in an English uniform. - - [Illustration: PLATE II.--ECCE ANCILLA DOMINI - - From the oil painting (28½ in. by 17 in.) painted in 1850 and is - now in the Tate Gallery - - This picture was first exhibited in 1850 at the "Free Exhibition" - in Portland Place. It was very slightly retouched in 1873 for the - then owner, Mr. Graham. It is rightly considered the most typical of - Rossetti's "Pre-Raphaelite" period.] - -After passing three years in Malta (1822-1825), he came to England -bearing introductions from John Hookham Frere, then Governor of Malta. -A year after his arrival he married Frances Mary Livinia Polidori, -whose mother was an English lady of the name of Pierce, while her -father was Gaetano Polidori, the translator of Milton. Gabriel Rossetti -was appointed Professor of Italian literature at King's College in -1831; but owing to the failure of his eyesight he had to resign that -position in 1845. He died nine years after, on April 26th, 1854. -He is the author of several works, the best known in England are: -_Comento analitico sulla Divina Commedia_ (1826-1827); _Sullo Spirito -Anti-Papale_ (1832); and _Il Mistero dell' Amor Platonic_ (1840). In -Italy, particularly in his own province, his name is held in veneration -for services in the cause of liberty. He had four children, the eldest, -Maria Francesca, the author of "A Shadow of Dante," died in 1876. -Dante Gabriel was the second and was born the 12th of May 1828 at 38 -Charlotte Street, Great Portland Place, London. William Michael was the -third, and Christina was the youngest. - -Very little is known of the early life of Rossetti. He received some -instruction at a private school in Foley Street, Portland Place, -studying there from the autumn of 1836 to the summer of 1837. He was -afterwards sent to King's College School. There he learned Latin, -French, and a little Greek. Naturally enough he knew Italian very well -from home and also a little German. In his home surroundings the young -child's taste for literature was developed very early; at five years -old he wrote a drama called "The Slave." Towards his thirteenth year he -began a romantic tale in prose, "Roderick and Rosalba." Somewhere about -1843 he wrote a legendary tale entitled "Sir Hugh Le Heron," founded on -a tale by Allan Cunningham. His grandfather Gaetano Polidori printed -it himself for private circulation, but the work contains no sign of -his ultimate development and has been justly omitted from his collected -works. Soon the wish to be a painter took possession of Dante Gabriel -and, on leaving school, he began his technical education in art at -Cary's Academy in Bloomsbury. In 1846 he joined the classes of the -Antique School of the Royal Academy. It is worth pointing out that -he never followed the Life School of that institution. Conventional -methods of study were distasteful to him. He decided to throw up the -Academy training and wrote to a painter, not very well known at that -date but whose work he admired, asking to be admitted to his studio -as a pupil. The painter was Madox Brown, and young Rossetti, given -his needs and mode of thought, could not have chosen a more suitable -master. Madox Brown was only seven years older than Rossetti, but he -had studied at Ghent, Antwerp, Paris, and Rome. He had exhibited some -fine cartoons during the early forties for the decoration of the House -of Lords. Among these was one that Rossetti had greatly admired at the -exhibition of the competitive cartoons in Westminster Hall. It was -"Harold's body brought before William the Conqueror." In March 1848 -Rossetti entered upon his new experience and Madox Brown agreed to -teach him painting, not for a fee but for the mere pleasure of meeting -and training a sympathetic spirit. Rossetti did not long remain a -regular attendant in the studio. He left after a few months. - -On the opening day of the exhibition (May 1848), "Rossetti," says -Mr. Hunt, "came up boisterously and in loud tongue made me feel very -confused by declaring that mine was the best picture of the year. The -fact that it was from Keats ('The Eve of St. Agnes') made him extra -enthusiastic, for, I think, no painter had ever before painted from -that wonderful poet, who then, it may scarcely be credited, was little -known." Rossetti wished so earnestly to become more intimate with Hunt -that he agreed to work with him, sharing a studio that the latter had -just taken in Cleveland Street, Fitzroy Square. Here he began to paint -his first composition, having hitherto done no more than studies, -sketches, a number of portraits, some of which reveal excellent work. -At this time his literary development was somewhat ahead of his -artistic growth. He had already translated the _Vita Nuova_ which -is alone a monumental achievement, introducing wonderfully into the -English the warmth of the southern language; and he had written some -of his best known poems, including "The Blessed Damozel," "My Sister's -Sleep," "The Portrait," a considerable portion of "Ave," "A last -Confession," and the "Bride's Prelude." - -Millais and Holman Hunt, whose friendship dated from the Academy -Schools, found ground for sympathetic union with Rossetti in their -common distaste for contemporary art. They were convinced it was -necessary to abandon the conventional style of the day and return to -a severe and conscientious study of nature. They were for a while -uncertain as to the path to pursue. Where should they turn for precept -and guidance on the line of their new-found principles? Looking through -a book of engravings from the Campo Santo of Pisa one day at Millais' -house, they thought they had found there the direction they sought. -Mr. Holman Hunt tells us that the foundation of the Pre-Raphaelite -Brotherhood was the immediate result of coming across the book at that -particular time. - -While Holman Hunt was painting "Rienzi swearing revenge over his -brother's corpse," and Millais, "Lorenzo and Isabella," Rossetti began -his "Girlhood of Mary Virgin." As can well be imagined that first -composition gave him endless trouble and was the cause of the most -violent fits of alternate depression and energy. But the following -spring (1849), the three pictures were ready for exhibition. Millais -and Hunt were hung in the Royal Academy Exhibition and Rossetti's in -the so-called Free Exhibition, which was held in a gallery at Hyde -Park Corner. In the "Girlhood of Mary Virgin," he represents a room -in the Virgin's home with a balcony on which her father, St. Joachim, -is seen tending a vine which grows up towards the top of the picture. -On the right, against a dark green curtain, are the figures of St. -Anna and the Virgin sitting at an embroidery frame. The mother, in -dark green and brown garments with a dull red head-dress, is watching -with clasped hands the work in front of her. The young girl, a quite -unconventional Madonna dressed in grey, pauses with a needle in her -hand gazing in front of her at a child angel holding a white lily. -Underneath the pot in which the white lily grows are six big books -bearing the names of the six cardinal virtues. The figures, as well -as the dove which is perched on the trellis, bear halos, their names -being inscribed within. Rossetti painted his mother for St. Anna and -his sister Christina for the Virgin. Changing her dark brown hair to -golden, he broke a rule of the Brotherhood, which decrees that the -artist shall copy his model most scrupulously. The picture was signed -with his name, followed by the three letters P.R.B. Rossetti having -revealed the meaning of these three letters to a friend it was soon -generally known and no peace was given to those who dared to stand up -against traditional authority. It is necessary to explain that, at that -time, Raphael was considered the greatest of all painters. All who came -before him were ignored and a set of fixed rules supposed to have been -deduced from his work was taught in all the schools. The revolt of the -"Brethren" was directed much more against those rules than against -Raphael's work which, in all probability, they hardly knew. - - [Illustration: PLATE III.--DANTE DRAWING THE ANGEL - - From the water-colour (16½ in. by 24 in.) painted in 1853 and - first exhibited in the Pre-Raphaelite Exhibition at Russell - Place in 1857. It is now in the Taylorian Museum at Oxford - - The subject of this water-colour is taken from the following passage - in the Vita Nuova: - - "On that day which fulfilled the year since my lady had been made - of the citizens of eternal life, remembering me of her as I sat - alone, I betook myself to draw the resemblance of an angel upon - certain tablets. And while I did thus, chancing to turn my head I - perceived that some were standing beside me, to whom I should have - given courteous welcome, and that they were observing what I did: - also I learned afterwards that they had been there awhile before I - perceived them. Perceiving whom, I arose for salutation and said: - 'Another was with me.'" - - The same incident has been commemorated by Robert Browning in his - "One Word More."] - -At about the same time that he painted "Mary's Girlhood," Rossetti did -a portrait in oils of his father, his first work of this kind. He also -drew an outline design of a lute player and his lady, a subject taken -from Coleridge's "Genevieve"; a pen-and-ink drawing of "Gretchen in -the Chapel," with Mephistopheles whispering in her ear, and "The Sun -may shine and we be cold," a sketch of a girl near a window, apparently -a prisoner. To this period also belongs the important pen-and-ink -drawing, "Il Saluto di Beatrice," representing in two parts the meeting -of Dante and Beatrice, first in a street of Florence and secondly in -Paradise. - -The most important of Rossetti's Pre-Raphaelite work during the two -years following 1848 is the "Ecce Ancilla Domini," quite in keeping in -sentiment with the picture of the previous year. Both these pictures -are a little timid in treatment. In the "Ecce Ancilla Domini," the -Virgin clad in white is sitting on her bed, as if just awakened, and -sees with awe the full length of an angel, also clad in white, floating -in front of her and holding a white lily in his hand. The walls are -white but there is a blue curtain behind the Virgin's head and a red -embroidery on its frame is standing in the foreground at the foot -of the bed. The drapery of the angel is a little stiff and the whole -effect rather hard, but notwithstanding this youthful fault the whole -work is restrained and full of charm both in drawing and colour. - -This picture was exhibited in 1850 at the same Free Exhibition, which -was moved this year from Hyde Park Corner to Portland Place. - -The Pre-Raphaelites were now attacked by the press still more fiercely -than before, but they found a champion in Ruskin who took up their -defence in a series of letters to the _Times_, and in so doing laid -down an elaborate statement of principles. Thus it came about that the -broad and possibly nebulous ideas of the Brethren became transmuted -into hard and fast rules, which the young painters had to accept, -partly out of gratitude to their benefactor, partly because they agreed -with them. Rossetti painted only three pictures strictly according -to the Pre-Raphaelite rules. Curiously enough the best genuine -Pre-Raphaelite picture is "Work" by Ford Madox Brown, who not believing -in cliques refused to join the group. - -Round Rossetti were grouped his brother, William Michael, his sister -Christina, with Woolner, Collinson, Deverell, Millais, Hunt, Madox -Brown, William Bell Scott, and Coventry Patmore. Of all these Hunt and -Millais alone showed no inclination for writing. The group naturally -formed a school of literary thought of which "The Germ," originated by -Rossetti to propagate the ideas of the P.R.B., was the outcome. - -The cumbrous title "Monthly Thoughts in Literature, Poetry, and Art," -was first intended to be the title of this special publication of the -brotherhood, but at a meeting held in Rossetti's studio, 72 Newman -Street, in December 1849, when the first number was just ready for -publication it was decided to change the name for the simple title -"The Germ." This was proposed by Mr. Cave Thomas, an intimate friend of -the group. - -To the first number Rossetti contributed "My Sister's Sleep," and -a prose romance "Hand and Soul." Following numbers contained "The -Blessed Damozel," "The Carillon," "Sea limits" (under the title "From -the Cliffs"), and several sonnets. Only the first two numbers of the -publication were called "The Germ." The publication was known as "Art -and Poetry" in the third and fourth issues. - -"The Germ," as its short career showed, did not meet with success, -but it served to establish Rossetti's reputation among a small group -of artists and admirers. Rossetti's literary contributions were far -more matured than his paintings and it is surprising that they did -not attract more attention. "Hand and Soul" is specially valuable as -bearing a record of psychological experiences which gives a clear -glimpse of Rossetti's mind. - - - - -III - - -The storm of abuse caused by his two first pictures assisted a -natural inclination to give up his first source of religio-mystical -inspiration. Gradually the young painter groped his way towards -romantic subjects and discovered a rich mine of them in the works of -Browning, Dante, Keats, and the "Morte d'Arthur" of Malory. He may be -said to have found there the subjects of most of his compositions, and -his works inspired by these poets are delightfully full of originality -and ingenuity. - -He tried first a large canvas from the page's song in "Pippa Passes" -but had to abandon it. The composition of it remains in a little -painting called "Hist, said Kate the Queen," dated 1851. He executed -two other pen-and-ink designs from Browning entitled "Taurellos' first -sight of Fortune" and the "Laboratory," at about the same time. -Probably the latter was his first essay in water-colour, it is very -different from those for which he is popularly known. - -In "Beatrice at the Wedding Feast, denying her salutation to Dante," a -small water-colour of 1849 from the "Vita Nuova," the central figure is -a portrait of Miss Elizabeth Siddal who became acquainted with Rossetti -at about this date. She was the daughter of a Sheffield cutler and was -working in a milliner's shop. Walter Deverell discovered her one day, -when he was shopping with his mother. He persuaded her to sit for him -for his "Viola" and later to Rossetti. Her portrait can be seen in a -picture by Holman Hunt and in Millais' Ophelia. Miss Siddal sat for -most of the women in Rossetti's earliest and finest water-colours. - -To 1851 belongs the beautiful little composition called "Borgia," in -which Lucrezia can be seen dressed in an ample white gown brightened -all over with coloured ribbons and bows, sitting with a lute in her -hands. In the foreground two children are dancing. Leaning over her -left shoulder is the Pope Alexander VI., while her brother Cæsar stands -on the other side beating time with a knife against a wine-glass on the -table. - -Rossetti was not long in discovering that Miss Siddal had a strong -aptitude for art. With his special gift of influencing others the -position of model was soon merged into that of a pupil. Under his -guidance Miss Siddal made rapid progress and her water-colours show a -fine sense of colour. - -The sympathy between artist and pupil ripened into affection. The exact -date of their engagement is not known, but it was probably in 1853, -certainly not later than 1854, and was at first kept secret at Miss -Siddal's request. - -To the year 1854 belongs the water-colour, "King Arthur's Tomb," -in which Lancelot and Guenevere are seen bidding farewell over -the tomb of King Arthur; and to the following year belong the three -water-colours, "The Nativity," "La Belle Dame Sans Merci," and the -"Annunciation," as well as the drawing for a wood-cut, illustrating a -poem called "The Maids of Elfen-Mere" by William Allingham. - - [Illustration: PLATE IV.--BEATA BEATRIX - - From the oil painting (34 in. by 27 in.) painted in 1863 for Lord - Mount-Temple, now in the Tate Gallery - - Though undoubtedly inspired by the death of his wife, the motive of - this picture was ostensibly taken from the Vita Nuova. The Latin - quotation inscribed on the frame, which was designed by Rossetti - himself, is taken from the following passage: - - "After this most gracious creature had gone out from among us, - the whole city came to be as it were widowed and despoiled of all - dignity. Then I, left mourning in this desolate city, wrote unto the - principal persons thereof, in an epistle, concerning its condition; - taking for my commencement those words of Jeremias: Quomodo sedet - sola civitas! etc." - - The date of the death of Beatrice is also inscribed on the frame.] - -The artistic and romantic force which had produced the Pre-Raphaelite -movement had another important work to do five or six years later, -when a fusion of two movements took place: the early Pre-Raphaelites -represented by Rossetti, Holman Hunt, and Millais, joined the later -movement inaugurated by Morris and Burne-Jones. The second of these -groups originated at Exeter College, Oxford. It took shape like the -first one in a revolt against the Art formulæ of the age. The Oxford -group, like the P.R.B., had a magazine to express their views. - -At Christmas 1855 Burne-Jones came up to London and was introduced to -Rossetti, whom he and Morris admired greatly. Rossetti contributed -"The Burden of Nineveh," and a little altered version of "The Blessed -Damozel" to the "Oxford and Cambridge Magazine," the organ of William -Morris. - -One year later Burne-Jones and Morris settled in London in rooms at 17 -Red Lion Square. Both young men were soon completely under Rossetti's -influence, and their studio became a sort of centre for all members -of his circle. There, in order to furnish and decorate these rooms, -the first essays in designing furniture were made. Rossetti painted a -pair of panels for a cabinet. He made use of the subject of his early -pen-and-ink drawing, "The Salutation of Beatrice," representing, in two -divisions, Dante meeting Beatrice in Florence and again in Paradise, -with a figure of Love standing between them in the midst of symbols. -Besides those panels Rossetti painted on the backs of two arm-chairs, -"Gwendolen in the Witch-tower" and the "Arming of a Knight," both -subjects from poems by William Morris. - -To 1857 belongs the charming series of water-colours acquired by -William Morris: "The Damsel of the St. Grael," "The Death of Breuse -sans pitié," "The Chapel before the Lists," "The Tune of Seven Towers," -and "The Blue Closet." The two last were special favourites with Morris -who used their romantic titles for two of his poems. This year also, he -painted the "Wedding of St. George," "The Gate of Memory," "The Garden -Bower," and a "Christmas Carol." - -During the vacation of 1857 Rossetti went to Oxford with Morris -to visit the architect, Benjamin Woodward, who was constructing a -debating-hall for the Union Society. Rossetti saw an opportunity -for mural decoration, and arrangements were made with the building -committee in charge that seven artists including Rossetti, Burne-Jones, -and Morris, should undertake the decoration gratuitously, the Union -only defraying their expenses at Oxford and providing all necessary -material. Rossetti took for subjects, "Launcelot asleep before the -Chapel of the Sanc Grael" and "Sir Galahad, Sir Bors, and Sir Percival, -receiving the Sanc Grael." Before the pictures were finished they began -to fade, the walls having been badly prepared and Rossetti's designs -were never completed. - -While at Oxford, in the summer of 1857, at the theatre, Rossetti was -very much impressed one night by the striking beauty of Miss Burden, -the daughter of an Oxford resident. He obtained an introduction in -order to ask for sittings. A pen-and-ink head called "Queen Guinevere," -probably meant to replace the earlier studies done for "Launcelot at -the Shrine," was the first result of the new acquaintance. Several -years later, after the death of his wife, Miss Burden, then Mrs. -William Morris, again sat to Rossetti for several of his important -pictures. - - [Illustration: PLATE V.--THE BOWER MEADOW - - From the oil painting (32 in. by 25 in.) in the collection of the - late Sir John Milburn, Bart., Acklington, Northumberland - - Of this charming composition the landscape background was painted at - Sevenoaks in 1850, and the figures were added and the whole finished - in 1872.] - - - - -IV - - -On the 23rd of May 1860, the long delayed marriage of Rossetti to Miss -Siddal took place in St. Clement's Church, Hastings, and the married -couple went to Paris for their honeymoon. While staying there Rossetti -did two pen-and-ink drawings one of which called "How they meet -themselves," was done to replace the one made in 1851 and lost; the -other representing a scene from the "Life of Johnson" by Boswell, quite -an unusual subject for the artist. To the same year belongs the picture -representing Lucrezia Borgia washing her hands after preparing poison -for her husband the Duke Alphonso of Bisceglia. - -In 1861 Rossetti's translation from the Italian poets was at last -published with the "Vita Nuova" in a volume entitled "The Italian -Poets from Cuillo d'Alcamo to Dante Alighieri (1100, 1200, 1300)." -The painter poet was enabled to publish this book through Messrs. -Smith, Elder & Co. by the generous assistance of Ruskin who advanced -£100 to the publisher, but the sale of the first edition was only just -sufficient to pay that sum back, leaving a balance of about £10 to the -author. He proposed to etch for the frontispiece a charming design of -which various pen-and-ink versions exist, but being displeased with the -plate he destroyed it. In the same year he painted a small portrait -of his wife called "Regina Cordium." The head with ruddy hair hanging -loose on the shoulders against a gold background, fills nearly all the -canvas and a hand is seen on the left side of the picture holding a -pansy. More than one replica of that portrait exists, and several heads -from different sitters are called "Regina Cordium." Another important -production of the year is "Cassandra." The subject is a scene on the -walls of Troy before Hector's last battle. He has been warned in -vain by the prophetess, who is seen leaning against a pillar, tearing -her clothes in despair. Hector is rushing down the steps, and the -whole composition is full of soldiers, every space being filled with -some incident related to the central subject, giving that aspect of -concentrated composition so special to Rossetti. - -The two years following his marriage (1860-1862) were amongst the -most prolific of Rossetti's life both in ideas and invention. Besides -"Cassandra" he planned the composition for a large picture which was -commissioned but never finished, representing Perseus with the Medusa's -head; and he made the first pencil studies for his famous "Beata -Beatrix." - -With 1862 is associated the water-colour, "Bethlehem Gate." It is -also about this time (1861-1862) that the now famous firm of Morris, -Marshall, Faulkner & Co. was established with the co-operation of -William Morris, Faulkner, Burne-Jones, Madox Brown, Webb, and others -as active members. - -The idea of the commercial attempt on the artistic lines to reform the -art of decoration and furniture-making was, says Mr. Mackail, largely -due to Madox Brown, but perhaps more to Rossetti, who, in spite of his -artistic qualities, was a very good business man and had the scent of -a trained financier for anything likely to pay. The little band of -original artists and designers took in hand tapestry, furniture, wall -papers, stained-glass, and later on, carpet weaving and dyeing. The -terms under which they worked were very simple. Each member was to be -paid for the work commissioned by the firm, and the profits were to be -divided in a proper ratio at the end. - -The new firm had plenty to do owing to the demand for ritual -decorations caused by the Anglo-Catholic movement. Amongst the first -commissions were those for adorning two new churches then being -built--St. Martin-on-the-Hill, Scarborough, and St. Michael at -Brighton. For the first one Rossetti made a design for two pulpit -panels and several windows. - -In dealing with stained-glass Rossetti who was specially gifted as -a decorator, understood his medium, and in making his design took -into account all the limitations of the material. He did not seek to -paint a picture on glass, but maintained that idea of a mosaic of -coloured-glass that is seen to so much advantage in the early _vitraux_. - -Amongst works designed by him for the firm Morris & Co. the following -may be mentioned: "Adam and Eve," two designs for stained-glass, and -"St. George and the Dragon," six designs for stained-glass. One of -them representing the princess drawing the fatal lot he painted as a -water-colour. "King Rene's Honeymoon," a design for one of four panels -representing the Arts, was done for a gothic cabinet that Mr. J. P. -Seddon ordered from Morris & Co. Rossetti's design for "Music" shows -the king bent over a chamber-organ kissing his bride while she is -playing. He designed also one of the minor panels "Gardening." There is -a water-colour of the same subject under the title of "Spring." "Amor, -Amans, Amata," were three small figures in ovals, done for the back of -a sofa, which Rossetti had made for himself. He kept it for many years -in his house at Chelsea. "Sir Tristran and la Belle Iseult drinking -the Love potion" was a fine design intended to be one of a series of -stained-glass windows. "King Rene's Honeymoon" was done for a series -of stained-glass windows. "The Annunciation" is a design for a window, -quite different from the early version of the same subject. "Threshing" -is a design for a glazed tile. "The Sermon on the Mount" was done for a -memorial window in Christ Church, Albany Street, erected in 1869 to the -memory of his aunt, Miss Polidori. - -In either 1861 or 1862 Rossetti designed two illustrations for his -sister Christina's book of poems "Goblin Market." They were engraved on -wood and appear in Messrs. Macmillan's edition. - -In May 1861 Mrs. Rossetti gave birth to a still-born child. Her -recovery was slow, and this trouble did not improve her consumptive -tendencies. She suffered, too, from a very severe form of neuralgia, -for which laudanum was prescribed. - -On the night of the 11th of February 1862 she took an overdose and -Rossetti, returning home from lecturing at the Working Men's College, -found her dying. In a terrible state of anxiety, after seeking one -doctor after another, he called in Madox Brown for help, but all in -vain. The following morning his wife died, after only two years of -married life. The grief of Rossetti was overwhelming and the touching -scene in which he buried the manuscript of his poems with his beloved -wife has been told many a time. - - - - -V - - -After this tragic event Rossetti could no longer live in the rooms -he had occupied at Chatham Place. He looked for some others, living -meanwhile for a few months in a house in Lincoln's Inn Fields. Then he -took a lease of the house at No. 16 Cheyne Walk, sharing it at first -with Swinburne and Meredith. Mr. Meredith did not stay long and after -awhile Mr. Swinburne also gave up his tenancy, leaving Rossetti sole -occupant of the premises. - -One of the last works he did before his misfortune, and the last -picture for which his wife sat to him, was the water-colour of "St. -George and the Princess Sabra." For sometime after the blow of his -wife's death he was idle. The first things he did after his recovery -was a crayon portrait of his mother (1862) followed by "The Girl at -a Lattice," "Joan of Arc," and a replica of his early "Paolo and -Francesca." - - [Illustration: PLATE VI.--THE BORGIA FAMILY - - From the water-colour painted in 1873 and lately purchased by the - South Kensington Museum - - Rossetti first painted this subject in 1851--a smaller size 9½ by 10 - in. It is one of the richest of his small compositions.] - -The celebrated picture of "Beata Beatrix," now in the Tate Gallery -is dated 1863, but was finished later, being only partly painted in -that year. In Rossetti's own words the following is a description of -the picture: "The picture illustrates the _Vita Nuova_, embodying -symbolically the death of Beatrice as treated in that work. The -picture is not intended at all to represent death, but to render it -under the semblance of a trance in which Beatrice, seated at a balcony -overlooking the city, is suddenly rapt from earth to heaven...." - -The whole strikes a sombre note apart from its symbolic representation -through its delicious purple harmony. The city in the sunset light -in the distance, supposed to be Florence, is very like London in -atmospheric effect. Beatrice is seen sitting at the balcony against -the sunset background, with the light playing round her golden auburn -hair, in fashion suggesting an aureole. She is dressed in green with -dull purple sleeves. A bright red bird holding in its beak a dim purple -poppy, emblem of death, is flying towards her. In the misty distance -the figures of Dante and Love are watching her. Rossetti painted in -1872 a replica of that picture, adding to the main subject the meeting -of Dante and Beatrice in Paradise, with maidens bearing instruments -of music. He was rather reluctant to send out that replica, but the -unwillingness was overcome. He painted several others, none of them -being equal in quality to the original. - -In 1863 Rossetti painted an oil picture called "Helen of Troy," and the -last of the St. George subjects, representing St. George killing the -dragon, which is a water-colour version of the stained-glass series. -Then come three small subjects, "Belcolore," a girl in a circular frame -biting a rosebud. Of this there is a red chalk study and a water-colour -version, "Brimfull," a water-colour showing a lady stooping to sip -from a full glass, and a picture called "A Lady in Yellow." - -Rossetti now gave up painting those quaint little romantic subjects -so intense in literary feeling and dramatic expression, and devoted -himself to large single figures upon a background of rich accessories. - -When a painter makes a single figure the central interest of his -picture, he must, to a certain extent, avail himself of psychological -facts in the model before him, for if he recognises no limits to the -foreign sentiment and character he may impose, he will, little by -little, fall to the creation of a type which is not far short of a -monstrosity. Although the first of his pictures in this new style -are among his finest works we see this inevitable degeneration in -Rossetti's latest paintings. - -The first pictures of this kind and some of the best are, "Fazio's -Mistress," and "Lady Lilith." The former is dated 1863, but was -altered and repainted ten years later, and Rossetti changed its -title to "Aurelia." In 1864 he painted the latter which is a modern -conception of that first wife of Adam mentioned in the old Talmudic -Legend. The Lady Lilith is seated against a background covered with -roses. Dressed in white, she holds a mirror in her hand, and combs her -long fair hair. Although dated 1864 it was really not finished until -1867. The face as it is now was repainted in 1873 from a different -model, and is said to be quite inferior to the former one. Rossetti at -that time seemed to be a victim of a mania for repainting his earlier -work. - -The next great picture, begun in 1864, is "Venus Verticordia," the oil -version of which was not finished before 1868. It represents the nude -bust of a massively built woman surrounded by roses and honeysuckle. -She holds an arrow in her right hand and in the left an apple on which -a yellow butterfly has alighted. The face is conventionally pretty and -lacks character. - -"Morning Music," an elaborate little water-colour; "Monna Pomona," a -girl holding an apple with roses on her lap and in a basket at her -side; "How Sir Galahad, Sir Bors, and Sir Percival received the Holy -Grael" (done in his earlier manner); "Roman de la Rose," a water-colour -version of the earlier panel, and "The Madness of Ophelia," represent -the remaining production of 1864. - -There is little to mention in 1865. The most important productions -of that year were "The Blue Bower," and "The Merciless Lady." In the -"Merciless Lady," a water-colour in the style of his earlier romantic -manner, a man sits on a bank of turf between two maidens, with a sunlit -meadow behind. He seems attracted by the one on his left who is fair -and plays a lute, the other, his lady love, holds his hand and with a -sad expression tries to win him back to her. "A Fight for a Woman," -the composition of which is of a very early date, and the oil-painting, -"Bella e Buona," but renamed "Il Ramoscello," were also painted in 1865. - -After these came "The Beloved," finished in 1866, but worked again in -1873, this time without being spoiled. In writing to the owner of this -picture Rossetti said: "I mean it to be like jewels," and he carried -out his intention. In the middle of the picture is the fair-haired -bride radiant in rich stuffs, her gown is green, with large sleeves -embroidered in gold and red. She is surrounded by four dark-haired -maidens, on the foreground a little negro, adorned with a head-band -and a necklace showing the beautiful invention of Rossetti's taste in -decorative art, is holding a golden vase of roses. - -Next comes the "Monna Vanna," which represents a lady dressed in a -magnificent embroidered robe with large sleeves, holding a fan of -black and yellow plumes. Her luxuriant hair is falling from each side -of her face on to her shoulders, a bunch of roses is seen in a vase on -the left top corner of the picture. - -"The Sibylla Palmifera," and "Monna Vanna," were not completed before -1870. The latter represents a Sibyl sitting underneath a stone canopy, -which is carved on one side with a cupid's head wreathed with roses, -and on the other with a skull crowned with red poppies. The Sibyl is -clad in crimson, her brown hair is parted and falling each side of -her face, a green coif spreads from her head over her shoulder and -she holds a palm-leaf in her hand. There is a replica of the head of -"Sibylla Palmifera." In the same year (1866) he painted in oils a -portrait of his mother, and made a large crayon drawing of his sister -Christina. He also made two illustrations for her volume of poems, "The -Prince's Progress." - -In 1867 Rossetti painted in oils "The Christmas Carol," of which -a crayon study exists; "Monna Rosa," and the "Loving Cup." For the -water-colour, "The Return of Tibullus to Delia," there are numerous -sketches made from Miss Siddal sitting on a couch biting a tress of -her hair, which show that the design must have been of a much earlier -date. The water-colours, "Aurora," "Tessa la Bionda;" the crayons, -"Magdalene," "Peace," "Contemplation," and the crayon replica, "Venus -Verticordia," bear the same date. - -Unfortunately about this time Rossetti began to have serious trouble -with his eyesight, and had probably to reduce his hours of work. -All the same in 1868 he painted a portrait of Mrs. Morris, who has -kindly lent it to the Tate Gallery, where it can now be seen. Several -chalk crayon studies have been done for this portrait. Then he began -the picture of "The Daydream," representing Mrs. Morris sitting on -the lower branches of a sycamore tree, a replica in water-colour -of "Bocca Baciate," called "Bionda del Balcone"; "The Rose," a -water-colour; a crayon drawing, "Aurea Catena," some studies for "La -Pia," which was begun about this time, and a water-colour replica of -"Venus Verticordia." - - [Illustration: PLATE VII.--DANTE'S DREAM - - From the oil painting (7 ft. 1 by 10 ft. 6½) now in the Walker - Art Gallery, Liverpool - - This picture which is considered by some to be Rossetti's most - important work, illustrates the following passage in the Vita Nuova: - - "Then my heart that was so full of love said unto me: 'Is it true - that our lady lieth dead'; and it seemed to me that I went to look - upon the body wherein that blessed and most noble spirit had had its - abiding-place. And so strong was this idle imagining, that it made - me behold my lady in death, whose head certain ladies seemed to be - covering with a white veil." - - This picture, painted in 1871, passed through several hands and was - taken back by Rossetti from Mr. Valpy, on account of its large size - in exchange for several smaller works. It was eventually bought by - the Liverpool corporation. - - Rossetti first treated this subject in a little water-colour painted - for Miss Heaton in 1856.] - -Rossetti had now reached his fortieth year and for about a twelvemonth -had been suffering from insomnia. This was the cause of the break-up of -his health, for to gain relief he acquired the habit of taking chloral, -a drug of which the properties were then little known. - - - - -VI - - -During a visit to Penkill the thought of publishing his early poems -occurred to him. Towards the end of 1869 he was busy with their -preparation. Some of them were in circulation in manuscript in a more -or less finished condition and some others were buried with his wife. -As a relief from the strain of painting he began to write again. "The -Ballad of Troy Town," part of "Eden Bower," and the "Stream's Secret," -were among the new poems. He thought at first to collect as many of -the earlier works as he could remember, together with those of which -friends had manuscript copies, and to have them set up in type as the -foundation of a possible volume. But he was persuaded with difficulty -to apply for permission to open the grave of his wife in order to -recover the buried manuscript. In 1870 the book, under the title, -"Poems by Dante Gabriel Rossetti," was published by Mr. F. S. Ellis, -then in King Street, Covent Garden. Round Rossetti and his buried poems -a sort of legend had been growing up which, aided by his fame as a -painter, guarded his work against the indifference with which a volume -of verses by an unknown poet is bound to be received. The book proved -a great success and within a week or two Rossetti found himself in -possession of £300. - -This success was not achieved without raising some jealousy. Mr. -Buchanan, under the pseudonym of "Thomas Maitland" rushed into print -with the damning essay that appeared in the _Contemporary Review_ -for October 1871, under the title "The Fleshly School of Poetry." -This attack was repeated by the same writer in a pamphlet. Rossetti -in ill health and suffering from nervous fancies, considered that -there was a conspiracy against him, a view that, had his health been -stronger, he would not perhaps have adopted. The publication of the -article aggravated his insomnia. Dr. Gordon Hake offered him his -house at Roehampton in order to procure a change for the sufferer, -who either by accident or of set purpose had taken the contents of a -phial of laudanum, and lay for two days between life and death. Prompt -treatment, and his strong constitution helped recovery. He was taken -to Scotland where he resumed work on a replica of "Beata Beatrix." -Out-of-door exercise, early hours, and absence of worries, helped a -great deal to bring about his partial recovery. In September 1872 he -left Scotland and went to Kelmscott where he shared a fine Elizabethan -manor house with William Morris. - -His work during 1872-1874 consisted mostly in repainting many of his -earlier pictures. He worked again on "Lilith," "Beloved," "Monna -Vanna," and others. In July 1874 he left Kelmscott and came back to -London, never to return to the quiet manor house, which from this time -was in possession of Morris alone. - -Besides retouching his earlier work during the time of his stay at -Kelmscott, Rossetti started a number of new canvases, and made a -certain number of studies for use in future work. Among them are: "Rosa -Triplex," three heads from the same sitter, Miss May Morris. This -drawing is one of four or five versions. A portrait in red chalk on -grey-green paper of Mrs. W. J. Stillman, "La Donna de la Fiamma," and -"Silence," probably studies for pictures never painted, the little head -of a lady holding a small branch of rose-leaves called "Rose-leaf." -"Mariana," an oil painting, its title taken from a scene of "Measure -for Measure," and "A Lady with a Fan," being a portrait of Mrs. Schott, -were all prepared about this time. He also started the first studies -for his big picture, "Dante's Dream," among them a study from Mrs. -Morris for the head of the dead Beatrice, a head of Dante, and studies -for the two maidens holding the pall. "Troy Town," after his own -ballad, and "The Death of Lady Macbeth," are two designs for pictures -never painted. "Pandora" was completed in 1871. "Water Willow," a -portrait of Mrs. Morris is specially interesting because the river -landscape behind represents Kelmscott. A coloured chalk study for that -picture exists, the only difference between the portrait and the study -being that the background of the latter represents a river without -the view of Kelmscott. The "Dante's Dream" begun in 1870 was finished -towards the end of 1871. It is the largest picture Rossetti ever -painted, the subject is that of the early water-colour of 1856, and the -picture illustrates the following: - - "Then Love spoke thus: 'Now all shall be made clear; - Come and behold our lady where she lies.' - - * * * * * - - Then carried me to see my lady dead; - And standing at her head - Her ladies put a veil over her; - And with her was such very humbleness - That she appeared to say, 'I am at peace.'" - -In the composition Dante is led by Love to where Beatrice lies dead, -and Love bends down to kiss her. On either side of the bier where she -lies, two maidens dressed in green are holding a pall covered with May -flowers and the floor is strewed with poppies, emblem of death. On each -side of the picture there are winding staircases through which one sees -the sunny streets of Florence. Love is dressed in flame colour and -birds of the same hue are flying about to suggest that the place is -filled with the Spirit of Love. - -Proserpine was the next picture Rossetti undertook. It was begun on -four canvases. The fourth when finished was sold. Rossetti, who at -that time had assistants to help him in making the replicas of his -earlier work, painted to satisfy the demand of his patrons, and much -controversy raged round this picture. It is impossible to say if it -was entirely painted by him, but he owned to it although it was not -a good one. The purchaser was dissatisfied so he agreed to take it -back. The three unfinished versions were cut down and transformed into -heads, one of which, with the adding of some floral accessories, and a -slight change in the hands, was called "Blanziflore" or "Snowdrops." -One cannot help being a little puzzled by the notion of beginning four -canvases of the same picture at the same time, it suggests too much of -the commercial spirit. - -In 1872 "Veronica Veronese," and the "Bower Meadow," were painted, the -former illustrating the following lines, supposed to be a quotation -taken from Girolamo Ridolfi's letters which are inscribed on the frame: - -"Se penchant vivement la Véronica jeta les premières notes sur la -feuille vierge. Ensuite elle prit l'archet du violon pour réaliser -son rêve; mais avant de décrocher l'instrument suspendu, elle resta -quelques instants immobile en écoutant l'oiseau inspirateur, pendant -que sa main gauche errait sur les cordes cherchant le motif suprême -encore éloigné. C'était le mariage des voix de la nature et de -l'âme--l'aube d'une création mystique." - -The Lady Veronica, dressed in green, is sitting in front of a little -table on which is her music manuscript. Behind her on the left-hand top -corner is a canary perched on a cage and at her side stands a glass -of daffodils. She is leaning forward as if listening to the bird, -plucking with her left hand the strings of a violin hanging on the wall -in front of her while she holds the bow in her right hand. - - [Illustration: PLATE VIII.--ASTARTE SYRIACA - - From the oil painting (74 in. by 43 in.) now in the Corporation - Art Gallery at Manchester - - This picture was painted for Mr. Clarence Fry of the firm Elliot and - Fry, in 1877 and was first exhibited at the Royal Academy in 1883.] - -The "Bower Meadow" represents two women playing instruments and two -dancing figures, for which he made charming crayon studies. All these -figures were painted on an old background study of trees and foliage -he had painted in 1850, in his Pre-Raphaelite days when he was working -with Holman Hunt. - -The next great oil canvas is dated 1873, and is called "The -Ghirlandata." To this year belongs "Ligeia Siren," a drawing of a -sea-maiden playing on a musical instrument, a preliminary study for -"Sea Spell." - -"The Damsel of the Sanc Grael" was painted in 1874; it is a second -version of that subject strangely showing the psychological change in -Rossetti. The primitive simplicity so characteristic of the mediæval -legend and also of his early work has disappeared. The austere damsel -has become a "pretty" girl, with fair flowing hair, who holds a goblet. -The unfinished "Boat of Love" was also begun in 1874. Rossetti came -back to London in that year as has already been stated. - -The dissolution of the firm Morris, Marshall, Faulkner & Co. took -place at that time and was reconstituted under the sole management of -Morris. The dissolution did not take place without a certain amount -of friction, caused by the disagreement between Morris and Brown. -Rossetti seems to have taken Brown's part, and although Rossetti and -Morris did not quarrel, they saw very little of one another from that -date. But it is well to remember that Rossetti lived a very secluded -life, seeing very few people and labouring under the delusion that a -widespread conspiracy existed against him. This was apparently one of -the hallucinations resulting from the habitual use of chloral. - -The end of 1875 and beginning of 1876 were passed first in a house -at Bognor and after at a friend's in Hampshire. The artist was then -working on his pictures, "The Blessed Damozel," "The Spirit of the -Rainbow," and "Forced Music." - -In 1877 serious illness kept him two months in bed, and when better -he was taken to a little cottage near Herne Bay. There he was able to -resume his work and drew a crayon group of his mother and sister as -well as two separate drawings of his sister and one of his mother. To -that year belongs the "Astarte Syriaca" (now in the Corporation Art -Gallery of Manchester). The Syrian Venus stands against a red sunset -sky in which the moon is rising, gazing full face, with large dreamy -eyes. On the right and left two angel figures, holding torches, look -upwards. - -In that year the Grosvenor Gallery was founded and Madox Brown, -Rossetti, and Burne-Jones were asked to exhibit. Madox Brown and -Rossetti refused, but Burne-Jones accepted. The exhibition of his work -there brought him the enormous popularity he enjoyed. Down to that -time the public curiosity which had been roused by the controversies -following the forming of the P.R.B. had not been satisfied. - - - - -VII - - -After 1877 Rossetti kept strictly to his house at 16 Cheyne Walk -visited only by a few faithful friends. - -He began to write again in 1878. By March 1881 he had enough material -for a new volume, "Ballads and Sonnets," the MS. of which was offered -to and accepted by Messrs. Ellis & White on the same terms as his first -book, now out of print after running into a sixth edition. The "Ballads -and Sonnets" met with quite as great success as the earlier volume, -this time without any discordant note of criticism. In this year -Rossetti sold his great picture of "Dante's Dream" to the Corporation -of Liverpool. - -The two finished works of 1878 are: "A Vision of Fiametta," and a -water-colour called "Bruna Brunelleschi." To that year must be added -the unfinished design called "Desdemona's Death Song," various studies -for the figure of Desdemona, a design of the entire composition done -on a scale about half-life size, as well as a beginning of the picture -on canvas, which was not continued. The Faust subject that he intended -to paint, "Gretchen, or Risen at Dawn," was not more advanced. As time -went on and his health failed his output diminished. - -In 1879 Rossetti painted a replica of the "Blessed Damozel" with its -predella, changing the background of lovers and substituting two -angels' heads. "La Donna de la Fenestra" was also completed in that -year. - -In 1880 and 1881 Rossetti was working on three large pictures, "The -Day Dream," "The Salutation of Beatrice," and "La Pia," as well as on -"Found," the early attempt at a modern subject that he was never able -to finish. He painted several replicas, the most important being a -smaller version of "Dante's Dream." The "Daydream" begun in 1868 was -also completed at this time and the picture has since been given to the -South Kensington Museum by its owner Mr. Ionidès. "The Salutation of -Beatrice" is quite different from the earlier design of the same name -and shows those defects of his later work that we have pointed out; it -was not quite finished at the time of his death. "La Pia" is the last -picture painted and shows the same faults as the last mentioned. - -In September 1881 Rossetti went for a trip in the lake district of -Cumberland accompanied by Mr. Hall Caine, but after a month his health -grew worse and he returned in haste to London. A few days later he -became so ill that he required very careful nursing. After a partial -recovery from this illness he was once more interrupted in his work -by an attack of nervous paralysis, which seized him suddenly. This -last attack was due to the chloral he had been in the habit of taking -for so long and it was then strictly forbidden. The habit of so many -years was not to be broken without much discomfort and suffering, but -he gradually got better. As soon as he was well enough he was taken to -Birchington-on-Sea in February 1882, there he managed to work a little, -but was soon attacked by an old disorder, and in his weakened state -of health he could not throw it off. He grew weaker and worse. Death -came with the 10th of April 1882, and the painter poet is buried in the -little churchyard of Birchington. - -In the last days of his life, when he could paint no more, he made an -attempt to finish the story of "St. Agnes of Intercession" which was -begun for the "Germ," he also completed the ballad of "Jan Van Hunks," -and wrote a couple of sonnets for his drawing called the "Question." - -Most of the critics who have written on Rossetti deplore the fact that -he did not learn to paint, but to artists one of the greatest charms -of his pictures (especially the early ones) is the unexpectedness of -their composition. We owe that charm in a great measure to the fact -that happily he had not been spoiled by the sophisticated teaching of -Academic Schools, but had kept the bloom of his poetical inspiration. -We must thank the instinct of the young man, which made him avoid a -teaching which is bound to be fatal to both realism and romanticism. It -may be that he himself deplored the lack of training at certain moments -of discouragement in his life, but the kind of training available at -the time of his début would not have added much to his achievement. He -managed to say what he had to say, and in many cases to say it well. -He saved himself the loss of time necessary to forget certain of the -artistic préjugés then in vogue, they would have been very much in his -way, even if he had quite succeeded in getting rid of them. The rather -amateurish side to Rossetti's art is vastly compensated for by the -precious qualities he has been able to preserve. - -It is unfortunate that, through his refusal to exhibit, the public has -been acquainted first with his later work, which shows the decline of -his faculties caused by his ill health. Neither the fresh creations of -his early work nor the gorgeous pieces of his middle period are as well -known as they deserve to be. - -As a young man Rossetti possessed an extraordinary influence over the -members of the group round him. Later when his work became less sincere -his influence declined and what promised to be at the beginning a great -renaissance of the English School has ended with him. Such a disaster -is certain to befall the school or the artists who do not refresh -themselves continually by the "communion" with nature. Ruskin says in -his Pre-Raphaelitism: "If they adhere to their principles, and paint -nature as it is around them, with the help of modern science, with the -earnestness of the men of the thirteenth and fourteenth centuries, -they will, as I said, found a new and noble school in England. If -their sympathies with the early artists lead them into mediævalism -or Romanism, they will of course come to nothing." These words were -prophetic. - - - The plates are printed by BEMROSE & SONS, LTD., Derby and London - The text at the BALLANTYNE PRESS, Edinburgh - - - - -Transcriber's Note - - -Text in italics was surrounded by _underscores_ and text in small -capitals was changed to all capitals. - -A few apparently missing periods were added. Otherwise the original was -preserved. - - - - - -End of the Project Gutenberg EBook of Rossetti, by Lucien Pissarro - -*** END OF THIS PROJECT GUTENBERG EBOOK ROSSETTI *** - -***** This file should be named 43347-8.txt or 43347-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/3/4/43347/ - -Produced by eagkw, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |