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diff --git a/43347-h/43347-h.htm b/43347-h/43347-h.htm index 2401452..1dad695 100644 --- a/43347-h/43347-h.htm +++ b/43347-h/43347-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Rossetti, by Lucien Pissarro. @@ -98,47 +98,7 @@ p.cap:first-letter {float: left; clear: left; margin: 0 .1em 0 0; </style> </head> <body> - - -<pre> - -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) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43347 ***</div> <div class="tnote"> <p>Note: Images of the original pages are available through The Internet @@ -251,7 +211,7 @@ T. LEMAN HARE</span> <td class="col5">BURNE-JONES.</td> <td class="col5">A. Lys Baldry.</td> </tr><tr> - <td class="col5">VIGÉE LE BRUN.</td> + <td class="col5">VIGÉE LE BRUN.</td> <td class="col5">C. Haldane MacFall.</td> </tr><tr> <td class="col5">CHARDIN.</td> @@ -275,7 +235,7 @@ T. LEMAN HARE</span> <td class="col5">LAWRENCE.</td> <td class="col5">S. L. Bensusan.</td> </tr><tr> - <td class="col5">DÜRER.</td> + <td class="col5">DÃœRER.</td> <td class="col5">H. E. A. Furst.</td> </tr><tr> <td class="col5">MILLET.</td> @@ -305,11 +265,11 @@ T. LEMAN HARE</span> <div class="caption"> <p class="plt">PLATE I.—THE DAYDREAM</p> -<p class="hang">From the oil painting (61½ in. by 35 in.) painted in 1880 and first +<p class="hang">From the oil painting (61½ in. by 35 in.) painted in 1880 and first exhibited in the Royal Academy in 1883. (Frontispiece)</p> <p class="nrm">This picture was painted from Mrs. William Morris and was -left to South Kensington by Constantine Ionidès, Esq.</p> +left to South Kensington by Constantine Ionidès, Esq.</p> </div> <div class="figcenter"><a id="pl_1"></a> @@ -354,7 +314,7 @@ REPRODUCTIONS IN COLOUR</p> <td class="col3"><span class="f9"><a href="#pl_1">Frontispiece</a></span></td></tr> <tr> <td> </td> - <td class="col4">From the Ionidès Collection at South Kensington + <td class="col4">From the Ionidès Collection at South Kensington Museum</td> <td> </td> </tr><tr> @@ -449,7 +409,7 @@ 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 +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 @@ -541,7 +501,7 @@ he left Italy disguised in an English uniform.</p> <div class="caption"> <p class="plt">PLATE II.—ECCE ANCILLA DOMINI</p> -<p class="ctr">From the oil painting (28½ in. by 17 in.) painted in 1850 and +<p class="ctr">From the oil painting (28½ in. by 17 in.) painted in 1850 and is now in the Tate Gallery</p> <p class="nrm">This picture was first exhibited in 1850 at the “Free Exhibition” @@ -749,7 +709,7 @@ which, in all probability, they hardly knew.</p> <div class="caption"> <p class="plt">PLATE III.—DANTE DRAWING THE ANGEL</p> -<p class="hang">From the water-colour (16½ in. by 24 in.) painted in 1853 and +<p class="hang">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</p> @@ -937,7 +897,7 @@ brightened all over with coloured ribbons<span class="pagenum"><a name="Page_32" 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 +Alexander VI., while her brother Cæsar stands on the other side beating time with a knife against a wine-glass on the table.</p> @@ -1004,7 +964,7 @@ 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 +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.</p> @@ -1041,7 +1001,7 @@ poems by William Morris.</p> <p>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 +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 @@ -1135,10 +1095,10 @@ 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 +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 +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 @@ -1318,7 +1278,7 @@ recovery was a crayon portrait of his mother <p class="ctr">From the water-colour painted in 1873 and lately purchased by the South Kensington Museum</p> -<p class="nrm">Rossetti first painted this subject in 1851—a smaller size 9½ +<p class="nrm">Rossetti first painted this subject in 1851—a smaller size 9½ by 10 in. It is one of the richest of his small compositions.</p> </div> @@ -1530,7 +1490,7 @@ water-colour replica of “Venus Verticordia.”</p> <div class="caption"> <p class="plt">PLATE VII.—DANTE’S DREAM</p> -<p class="ctr">From the oil painting (7 ft. 1 by 10 ft. 6½) now in the +<p class="ctr">From the oil painting (7 ft. 1 by 10 ft. 6½) now in the Walker Art Gallery, Liverpool</p> <p class="nrm">This picture which is considered by some to be Rossetti’s @@ -1601,7 +1561,7 @@ 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.</p> +Rossetti found himself in possession of £300.</p> <p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> @@ -1738,17 +1698,17 @@ to be a quotation taken from Girolamo Ridolfi’s letters which are inscribed on the frame:</p> -<p lang="fr" xml:lang="fr">“Se penchant vivement la Véronica jeta -les premières notes sur la feuille vierge. +<p lang="fr" xml:lang="fr">“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 +réaliser son rêve; mais avant de décrocher l’instrument suspendu, elle resta quelques -instants immobile en écoutant l’oiseau inspirateur, +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.”</p> +suprême encore éloigné. C’était le mariage +des voix de la nature et de l’âme—l’aube +d’une création mystique.”</p> <p>The Lady Veronica, dressed in green, is sitting in front of a little table on which is @@ -1795,7 +1755,7 @@ a preliminary study for “Sea Spell.”</p> 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 +simplicity so characteristic of the mediæval legend and also of his early work has disappeared.<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> The austere damsel has become a “pretty” girl, with fair flowing hair, who @@ -1912,7 +1872,7 @@ 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 +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 @@ -1970,12 +1930,12 @@ 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 +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<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> time necessary to forget certain of the artistic -préjugés then in vogue, they would have +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 @@ -2008,7 +1968,7 @@ 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 +early artists lead them into mediævalism or Romanism, they will of course come to nothing.” These words were prophetic.</p> @@ -2027,388 +1987,7 @@ was preserved.</p> on the internet, for instance <a href="http://www.wikigallery.org/wiki/artist37039/Dante-Gabriel-Rossetti/page-1">here</a>.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Rossetti, by Lucien Pissarro - -*** END OF THIS PROJECT GUTENBERG EBOOK ROSSETTI *** - -***** This file should be named 43347-h.htm or 43347-h.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. 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