T M PLATE 1. PO RTRAI O F HO L AN H U NT AT

THE AG E F F F F e O I TEEN . ( rontispiec )

ri nl n The o i a is now he ssess o of Mr. H a d is a g in t po i n unt, copy by him from the original which was painted at the age of seventeen.

CO NTE NTS

1 Th ’ — . e Painter s Youth (1 827 1 854)

I I The . East

I I I . The Subject Pictures

IV r nd O h r . Po traits a t e Works

L IS T OF I LLU S TR ATI O NS

Plate 1 a a at . Portr it of Holm n Hunt the age of Fifteen Frontispiece

By kind permission of the painter

G V a II . The Two entlemen of eron

From the Birmingham A rt G allery

111 a a and a . Is bell the Pot of B sil

nof Mrs am Ha From the painting in the possessio . ' es ll

I L V . The ight of the World

Fromthe ainin i K bl Coll e Cha l O xford p t g n e e eg pe ,

V T a a . he Sc pego t

From the painting in possession of S i r Cuthbert

uil r Bar . ' te , t

V I T o f . he Triumph the Innocents

From the painting lent by the painter to the W alker A rt G aller L iv r ool y , e p

I I V .

Fromthe painting in the

Ma V III . y Morning

By kind permission of the painter

I

’ THE PAI NTE R S YO U TH (1 827-1 854)

' u e e i Art is too tedio s an mploym nt for any not nfatuated with it. The only artists I ever knew who achieved of note in any sense w e v r r r hatever, went first through a st ady training of se e al yea s and afterwa ds entered their studios with as unwearying a punctuality as business men attend fi n r s their of ces , worked lo ge hours than the e, and had fewer holidays, partly art e r because of their love for , but also b cause of their deep sense of the utte uselessness of grappling with the difficulties besetting the happy issue of each x fl ” contest, e cept at close and un inching quarters. “ I have many times in my studio come to such a pass of humiliati on that I have felt that there was no one thing that I had thought I could do thoroughly ” W H in which I was not altogether incapable. . H.

PON a wintry afternoon in London, in the 1 8 o f a old year 3 4, a. little boy six ye rs ’ was standing on the stairs of a poor artist s I I 1 2 HOLMAN H UNT

house, watching, through a window in the f O . wall, the marvellous deeds the man within The man within was painting the “ Burning of ” the Houses of Parliament . Scarlet and gold ' Scarlet and gold ' He used them up s o quickly

that he had to grind and prepare more and more . Every time he ground with the muller on the slab

a fresh supply of vermilion and chrome yellow,

‘ ‘ f cnfla ra i n there was a fresh flare up O the o g t o ,

another outburst of applause from the little boy. ’ o n Meantime, the artist s wife put the kettle the u fire, and cut bread and butter as if nothing o t of the way were going on ; and by-and-by she

and the father and their children sat down to tea. It seemed very strange to the little watchman a that they could beh ve in this calm, everyday manner when such wonders were all about them r m in the room . Presently a po ter came fro a. ’ a warehouse in Dyer s Court, Alderm nbury, where a h dwelt a merch nt, Mr. William Hunt ; and e

took the little boy home to his father. This little boy had been born on the 2nd 1 82 April 7, in Wood Street, Cheapside, and ’ iles s was christened William Holman at St. G ,

Cripplegate . From the time that he could hold L — W G T P ATE u. THE T O EN LEMEN OF a 1 V ERO NA. ( P inted in 852)

The subject of this picture i s taken from the last act of S hake ’ ” s T e t e V s peare wo G n lem n of erona. It will be remembered that Proteus and V alentine had each gone from V erona to Milan to improve by travel and by s eeing the wonders of the world a La a s P s f abro d . ter on 'uli , who e love roteu had won, ollowed im u s as a a n s c s and h dis g i ed p ge, o ly to di over that the fal e , fickle, treacherous wooer was endeavouring to supplant hi s friend V alentine ’ h ns S the D s te . But V in t e affectio of ylvia, uke daugh r alentine,

r t a . s interpos ing at the c i ic l moment , rescued her Thi is the moment

s s . T s is s the arti t depict he cene one of pure bright unlight, in which the brilliant colours of the gay cos tumes tell out with almos t s b s n tartling vividness . In the ackground are een advanci g the o t w the D r . u laws , ith uke and Thu io whom they have captured It adds an interest to the picture to know that S ylvia was painted f M ss S a w s e w of Da e rom i iddall, who fter ard becam the ife nt T be - f es s was a Gabriel Ross etti. he ech tree or t cenery p inted in ’ K K n st s a at . L ord Amher p rk nowle , e t n The picture i s in the Birmi gham Art Gallery.

1 6 HOLMAN H UNT solid would form anempty pipe. Attempts to drill the was an m s tick into a tube failed, but there expedient for ak a s i ng the tuft fuller. Cutting cros cleft in the bottom of the a a Of a re wood, I inserted str ight length h ir, which I then a bound with its crimson thre d . With gum I managed patiently to bind down loose ends and to give animproving a a a r gloss to the whole. My fe rs grew p ce, since eve y hour there was a danger of inquiry for the lost pencil . I sum moned an a a a up, therefore, ssumption of ssur nce, trusting that my father would see no difference between my brush nd a a . his I went forw rd to him, holding the trophy very tenderly les should fall o p e es. e rned h s t it t i c H tu i eyes, a a a a they bec me bewildered , his usu l loving look m de frown

f a . sa rom him the more to be dre ded I fortified my spirit, y ‘ ’ a a . ing, Th nk you very much, f ther, for your brush He took ‘ h ’ ’ nd i t a ? a O . a with, W t s this turned it ver Bre thless I s a and a obbed ; he burst out l ughing, so brought torrent of ’ t a . a O h e rs to my eyes He excl imed, , I see, it s my brush, is i t P a and a a c ught me up tossed me loft sever l times, ending a - a with scrubbing on my cheek from his close sh ven chin . ” 1 This was the reception of my first work of art.

The warehouse was a mysterious place full of l and aughter talk by day ; empty, silent, and vast at night when the mas ter went over it with a ’ - a bull s eye l ntern . A funny man called Henry Pinchers busied hims elf with velvet binding on f the third floor. The jests O Henry Pinchers were O f had had infinite charm . He to take two steps

1 - - re nd . P s a B t d i . Raphaeliti m the Pre Raphaelite ro herhoo , vol , by W . Holman Hunt. HOLMAN H U NT 1 7

back for every step forward, he declared, one “ cold morning. Then how did you get to the warehouse at all ? ” asked his delighted “ ’ . o u b auditor Don t y see, you silly oy, I turned round and walked backwards ' said Henry

Pinchers. Other people were not much more clear than t he in their answers o questions . Temple Bar was “ ” s o called because there was no other name ; “ and the martyrs were burnt at S mi thfield be ” cause they were martyrs . Whether the child f more satis action at the school to which,

not . soon after, he was sent, does appear The lessons from the New Testament read to him there made a deep impression upon his mind, “ and were remembered in years to come . The gain in thoughtfully-spent life is the continual disturbance of absolute convictions . But there are certain convictions Of childhood which are ff never e aced . The choice of a profession was not left to the last moment in those days . He was but twelve when his father asked him what he would “ ” b e like to . A painter ' he said at once ; and the sorrowful silence that followed told him what B 1 8 HO LMAN H UNT he knew already— that his choice was not looked o nwith approval .

Hi s a e had f th r taken him away from school, and was about to find for him a situation in which he would have to go about with invoices for goods from nine in the morning till eight at night . No time for drawing ; no time for painting in scarlet and gold ' The idea did not harmonise with his presentiment of that h a which ad to be . He set bout to look for a s a a pl ce for him elf, and expl ined the various qualifications that he pos sessed in the way

Of reading, writing, and arithmetic, to the master O f a boy-friend who was leaving that ’ gentleman s Office . After some friendly chaff as to why he had not thought Of enlisting as a a Gren dier, to which he replied in all good “ faith, I really should like your place better, and a his services were accepted, his f ther ’ a a amused, and gr tified, no doubt, by the m ster s ready interest in the boy— consented that he should stay.

The master, Mr. James, drew and painted l Far himse f. from discouraging his apprentice, he gave him his own box ofoil-colours with dirce HO LMAN H UNT 1 9 tions how to prepare them ; draughtsmanship was studied at a night school for mechanics, and the little salary expended on weekly lessons from a portrait-painter who had learnt from a pupil of a pupil Of Sir Joshua Reynolds . His father, who had permitted this, was displeased, however, to n ’ find that o Mr. James s retirement he had time to visit the National Gallery ; and once again, to avoid more unendurable subjection, he secured a ’ place at the London Agency Of Richard Cobdens

Manchester business. Here he sat by himself in o n a little room that looked out three blank walls, m ade entries in a ledger, pondered over the - Bible stories heard at school, and the far away l - - and where they happened, drew pen and ink flies o nthe window with such accurate realism that his employer took out a handkerchief to

brush them away, designed patterns for cali

— coes taught by an occasional clerk. Here, a f too, he painted the portr it o an Old orange wh woman called Hannah, a Jewess, o came into “ the Office and asked him to buy o f her ; if o nly for a handsel to break her ill-luck Of the ” morning. The portrait was such a good likeness that 20 HO LMAN H UNT the employer laughed aloud when he saw it ; f f the ame o the thing spread fast. One night his father told him of this remarkable picture, adding that he certainly ought to see it ; but no sooner had he discovered the artist than he threatened to take him away altogether if n stricter discipline were ot observed . Hunt was now sixteen ; he had borne with the city for four years ; if he waited until he came of age it would be too late to think of art as w a profession . He took his life into his o n hands, and declared that he meant to become a student at the Royal Academy, that he must be allowed to draw at the British Museum that he might qualify himself to pass the entrance examination . He just contrived to make both ends meet by copy and portrait work three days o ut o f - the six . He learnt more from fellow students than from masters . The first real in s truction ’ came from a pupil of Wilkie s, who told him, “ as he sat copying The Blind Fiddler, that

Wilkie painted without dead colour underneath, and finished each bit in turn like a fresco out painter. After this he found for himself HOLMAN H UNT 2 1 that quattrocentist work was very beautiful, and that the beauty of it was due to the early training Of the artists in fresco . He was by a nature hasty and imp tient, and the city portrait

' painter had encouraged rather thanchecked a tendency to handle his tools with loose bravura.

He set himself to unlearn these lessons, to work with accurate and humble patience . The hardest part of the endeavour had yet to come . Twice over he failed to find his name upon the list Of those accepted as probationers for ' the Academy. Another precious year gone a His f ther appealed to him to give it up. “ Y u You are wasting time and energy. o can paint well enough to make friends admire you ; , but you cannot compete with others, who have genius to begin with, who have received an n excellent education . Are you not yourself co vi nced ? The sense o f discouragement was bitter. Six months more he asked for one other trial ; if, for the third time, he failed, he t would go back o business .

” One day, as he stood at work in the Museum, a boy dressed in a velvet tunic, and belt, his bright brown hair curling over a turned-down 22 HOLMAN H UNT

white collar, darted aside as he went by, gazed attentively at the drawing for a minute or two, off and was again . He knew the boy, for he had seen him take the Gold Medal at the

Academy over the head of all the Older students . He returned the visit on his way through the

Elgin room, where young Millais was at work o n the U lysses. 'uickly the younger artist turned round .

s a are a a I y, not you the fellow doing th t good dr wing ”

No. X at a . in III . room You ought to be the Ac demy “ a a . a Th t is ex ctly my opinion But, unfortun tely, the ” a wa Council h ve twice decided the other y. “ a are and You just send the dr wing you doing now, ’ a a you ll be in like shot. You t ke my word for it ; I ought ’ as a a to know ; I ve been there student, you know, five ye rs. a a a a and ’ I got the first med l l st ye r in the ntique, it s not the

can . s a first given me, I tell you I y, tell me whether ’ you have begun to paint ? What ? I m never to tell ; it is ' h ' h ’ ' ’ your deadly secret. Ah a a 'that s a good joke You ll be drawn and quartered without even being respectably ’ hung by the Council of ‘ Forty if you are known to have painted before completing your full course in the antique . ’ ’ hy I m as bad as you for I ve pa n ed a long h le . I W , , i t w i ’ s a a ? . y, do you ever sell wh t you do So do I I ve often got

and . Do a a ? ten pounds, even double you p int portr its “ ’ es I sa d bu I m err bl beh nd you . Y , i ; t t i y i

How old are you he asked . “ ’ Well, I m seventeen, I replied .

HO LMAN H UNT 25

“ ’ ’ a a I m only fifteen just struck ; but don t you be fr id . are a and Why, there students of the Ac demy just fifty more . ’ There s old Pickering ; he once got a picture into the E and xhibition, he quite counts upon making a sensation when he has finished his course ; but he is very reluctant to - force on his genius . Will you be here to morrow ? ” “ ’ ’ NO a da , I whispered ; it s my portr it y, but don t betray G - me. ood bye . ’ D a on t you be down in the mouth, he l ughed out, as I walked away more light-hearted than I had been for 1 months.

a “ At the next ex mination Hunt passed . I

’ told you so . I knew you d soon be in, said Mi ‘ lai s , when next they met at the Academy. It was the beginning of one of those rare friend ships that make high things possible . at 8 In the room 3 Gower Street, where Millais painted while his mother sat at her - n work table, Holman Hunt was ow Often to be found .

T t me can a ai as h hey bo h help , I tell you , s id Mill s, e a a ’ and stood with one h nd on his f ther s shoulder, the other ’ ’ nd a a . a a a a a on Mrs. Mill is ch ir He s re lly c pit l, does lot

L a a a has . a of useful things. ook wh t good he d he I h ve a a painted several of the old doctors from him . By m king a a a and ff little lter tion in e ch, putting on di erent kinds of

1 - R a e s . . . 6 Pre pha liti m, vol i p 5 26 HO LMAN H UNT

’ a . be rds ; he does splendidly Couldn t be better, could he ? a nd a And he sits for h nds a dr peries too . And as for nd a a a a . m mm , she re ds to me finds me subjects She gets me all I want in the way of dresses and makes them up for and a at me, se rches out difficult questions for me the British — n ’ i a . can Museum the libr ry, you know She s very clever, I ” and a tell you . He stooped down rubbed his curly he d “ ” a a a and a O ld a as g inst her forehe d, then p tted the d ddy, a a a was n a he c lled him, on the b ck . The f ther the only bout -s 1 forty even . . Many and eager were the discussions that ’ took place among the students . Hunt s first visit to the National Gallery, while he was still at the f O fice, had not been altogether a success . The “ A e was g Of Brown flourishing. Bacchus and

Ariadne was brown then . In fact when, a some few years l ter, it was cleaned, and the a original colours appeared, m ny people said they ai r preferred it brown . Lost in the brown , and quite unable to derive any pleasure from “ Venus ” a s - attired by the Gr ce , the new comer, stand n f ’ ing in fro t O Titian s masterpiece, inquired where were “ the really grand paintings Of the great master’ s

a a and a Th t picture before you , sir, of B cchus Ari dne is one of the finest specimens existing of the greatest

1 - . 61 . Pre Raphaelitism, vol . i . p HO LMAN H UNT 27

an t colourist in the world . Here the custodi s opped to a “ a ’ understand my par lysed expression . C n t you see its ” ” a ? Not be uty, sir much, I must confess, I slowly “ ’ stammered ; it is as brown as my grandmother s painted - ” nd tea a . a a tr y He st red hopelessly then left me, only “ a as a a are dding p rting shot, In the other rooms there R a a G and mi racu some wonderful ubens, consumm te uido, a V a and a R em lous he ds by ndyke, sever l supremely fine brandts they will at least equal your grandmother’s ’ tea- a a a see s a tr y , perh ps you ll be ble to ome be uty in th m ” 1 e .

It took wonderful courage in those days to n go o thinking that grass and trees were green, when all the eminent teachers maintained that s o far as Art was concerned, they were brown, and that if you only painted them brown for “ ” several years an eye for Nature would come . 4

They were green, however, at in Surrey, n whither the young artist went o e autumn . “ While he was there, his first picture, Wood ”

20. stock, was sold for £ Furthermore, a fellow l student borrowed from Cardinal Wiseman vo . i . of Modern Painters, and lent it to him for - twenty four hours. He sat up most o f the night to read it. He had fished out a copy of K eats from a box

1 “ - ” Pre R a ae s vol. . . 1 . ph liti m, i p 9 28 HO LMAN H UNT

“ o marked This lot 4d. , and determined t paint a “ ” “ ’ f . scene from The Eve o St Agnes . It s like a ” a — a parson, said Millais, l ughing curious com ” mentary on the reading of Isabella ; but he to soo n came round . Millais had begun assert n his independence of judgment, to the o small wrath of his mother.

“ “ a a a a . a 'ohnnie is beh ving bomin bly, she s id I w nt o un o hear you ould no bel eve ; he shu s us y u, H t, t ; w t i it t all a out of the studio altogether ; he is there now lone. For twelve days now neither his father nor I have been allowed to enter the room . I appeal to you ; is that the way to treat a ? a can ? p rents He c nnot expect to prosper, he, now I ” you wi ll tell him so. “ a as a At this point voice w he rd from the studio. Is not ’ ” a D a s a 1 th t Hunt on t mind wh t they y. Come here .

con Some time afterwards, a wonderful versation o n the relative merits of the Old Masters was interrupted by a quiet knock at

the door.

’ a Who s there asked my comp nion . ” tea a . I have brought you the myself, s id the mother I was hurrying forward when Millais stopped me with

a and a a a . his h nd, silent sh ke of the he d a a ’ a a a a I re lly c n t let you in, m mm ; ple se put the tr y nd ’ a ” a a . down t the door, I ll t ke it in myself

1 - R e s . . . 80. Pre apha liti m, etc , vol i p .

3 0 HOLMAN H UNT

R i oletto l u a ’ of g And then t rning to me he dded , There s no one in E ngland has such anerect back as he has while “ a a a a to him he r ilingly s id, You w nt pressing, like shy ” young lady. a was a a His f ther , however, lre dy tuning the strings, a when his son went over to the still irreconcil ble mother, a a and took her needles w y, kissed her, wheeled her in the chair round to the table where the opened chess-board was a a a a ha a rr nged w iting her. The father d alre dy commenced ai r at a a and af a the , which my solicit tion he repe ted, terw rds “ ” a a a a a a pl yed The H rmonious Bl cksmith . The r di nt f ces of both parents gradually witnessed to their content ; while a a a to the son be t time to the music, he p id no less ttention the game with the mother.

The two boys worked hard . They sat up all ’ night long i nMillais studio they kept themselves awake with coffee ; they encouraged o ne another with talk ; when Millais was tired to death o f his ’ ownpicture he worked on Hunt s, and Hunt on “ ” “ C mon and his . y and Iphigenia The Eve Of ” St . Agnes were sent in to the Academy at eleven ’ O clock on the las t night possible for sending in of at all, and next day, in the exuberance their a joyful relief, they accompanied the Ch rtist pro cession to K ensington Common— Millais keen to s eemore of the fray than his companion thought

a prudent .

One great disappointment, bravely borne by H O LMAN H UNT 3 1

Millais, marked the Academy Of that year ; “ ” m n wa . Cy o and Iphigenia s not hung Hunt, th however, gained an outspoken admirer in e a a person of an It li n student, Dante Gabriel “ ” Rossetti . The best picture there ' said he, as “ f ” he stood before The Eve o St. Agnes, and he said it loudly too . He did not admire it the less a because the subject was t ken from K eats, whom “ he adored . He loved and studied the Golden ” o f — Gates Ghiberti another point Of agreement.

He was passionately fond Of Art, but dejected by the enforced study O f glass bottles under the stern a guidance Of Ford M dox Brown . What was he to do ? He could not gO on with those bottles . Hunt consented that they should share a studio a and he became an ardent, fascin ting, but very troublesome learner. He hummed and moaned, rocking himself to and fro as he sat thinking ; a he raved and raged while he was p inting, causing angelic little girl models to weep ; he sat up night after night before his easel, eating

r o sleeping as the fit came upon him . He was perpetually encircled by a crowd o f noisy fol lowers, and he had a most inconvenient way

O f showing them everything in the studio, and 3 2 HOLMAN H UNT asking them all to supper when the cupboard was bare- a very different friend from the un

Bohemian Millais, who in those days would a not even smoke pipe . “ I have always been told by artists that a pipe is of incalculable comfort to the nerves, that when harassed by the difficulties o f a problem it solaces them . “ That is the very reason, it seems to me, for not smoking. A man ought to get relief only by ” solving his problem, said Millais . ff Very di erent, too, from the genial atmosphere Of the his home was that of Rossetti household, where there were strange gatherings of Italian exiles by the hearth . “ ” Then you are Pre-Raphaelite ' the other - students cried, laughing, when self willed Hunt quoted Sir Charles Ball to prove that the action ’ o f the demoniac boy in Raphael s Trans figura ” tion was all wrong. The word was caught up, a R O f the turned into challenge, P and , two mystic initials that were so soon to charm and B was to enrage London, were formed . The added at the suggestion of Rossetti, whose love “ of the medie val at once required a Brother P IV — G O F THE W O D LATE . THE LI HT RL

B . ehold, I stand at the door and knock

My types were of natural figures such as language had originally x employed to e press transcendental ideas, and they were used by me with no confidence that they would interest any other mind than own my . The closed door was the obstinately shut mind, the weeds a the cumber of daily neglect, the accumul ted hindrances of sloth ; the orchard the garden Of delectable fruit for the dainty feast of the a soul . The music of the still sm ll voice was the summons to the sluggard to awaken and become a z ealous labourer under the Divine Master ; the bat flitting about only in darkness was a natural type of ignorance the kingly and priestly dress of Christ, the sign of His reign over the body and the soul to them who could give their ’ and - allegiance to Him acknowledge God s over rule . In making it a night scene, lit mainly by the lantern carried by Christ, I had a x P ‘ followed metaphoric l e planation in the salms, Thy word is a ’ lamp unto my feet, and a light unto my path , with also the accordant P ‘ allusions by St. aul to the sleeping soul , The night is far spent, ’ the day is at hand .

K x . The picture hangs in eble College Chapel , O ford

HO LMAN H UNT

corruption, pride, and disease for which they “ a sought . Think wh t a revelation it was to find a such work at such moment, and to recognise it with the triple enthusiasm of our three spirits '” They all agreed that they would make a series of ’ designs from K eats in the new manner. Millais “ ” ’ Lorenzo and Isabella, in his friends judgment the most wonderful picture ever painted by a man under twenty, was the immediate fruit Of this resolve . Nature had gifted Rossetti with a hopeful temperament which was o f no small service to Hunt in the dark days o f discouragement that followed . When the latter was tempted to mourn over the waste O f his young years in the city, the former pointed out to him that he had learnt to know men, and the ways f a o men, instead Of mere bookish things th t “ were of very little use in life . What did it matter whether the sun went round the earth or the earth went round the sun ? What did anything scientific matter in comparison O f with Dante, with the poetry Browning, which he would recite, over the fire, by twenty pages at a time, with Tennyson and Henry Taylor HOLMAN H UNT 3 7

1 1 and Coventry Patmore i When Mr. James, the - city man, the owner of the original colour box, reduced Hunt to despair by his damning criticism “ ” “ ’ o f the new picture Rienzi, But the man s a ” O f born fool ' exclaimed Rossetti, with screams

laughter. When pounds, shillings, and pence ” “ a a ran low, Can you not underst nd, s id he, “ that there are hundreds of young arti s to crats and millionaires growing up who will be only too glad to get due direction how to make the as country as glorious Greece was, and as ” a Italy ? In P ris, in Belgium, in the country he was the most delightful of companions, and it was he who led as the Brethren walked up and down Stanhope Street after their work,

’ ‘ singing the M ar s ei llazs e or M ou r zr pou r la. patr i e.

‘ Throughout his youth, however, Rossetti o n acted impulse, without consideration as to ff the e ect upon others . When it was time to send in for the Academy he was not quite ready with the charming picture painted in ’ Hunt s studio, and, for the sake of a few more

1 who had f s f an Hunt, written poetry himsel , mo tly in couplet orm, d ’ the S e s a s a z a of in p n eri n t na, gave it up on ccount Ross etti s greater proficiency. 38 HOLMAN H UNT

days in which to finish, he sent instead to the

Hyde Park Gallery, which opened a week “ earlier than Burlington House. The Girlhood ” Of Mary, Virgin, signed with the mystic of the meaning which was then unknown, ex

cept to the seven Brothers, appeared, there ’ “ fore, a week earlier than Hunt s Rienzi and ’ “ Millais Lorenzo and Isabella, signed with

the same initials, and, for good and for evil, Rossetti began to be S poken o f as the pre ff cursor of a new school . The e ect on him

was twofold . U nable to endure hostile cri ti ci s m of , at the first touch it, the year after, when “ ” he showed The Annunciation, he resolved that he would never again exhibit in public ; - but, pleased at the pre eminence given him by

those who were not behind the scenes, he with drew from partnership with Hunt in the studio ; n and more and more, as time went o , from his

society and that Of Millais .

Rienzi honourably hung in the large room, “ ” pendant to Lorenzo and Isabella, made a favourable impression, but was not sold until after the closing o f the Academy ; and mean ’ time, the landlord seized Hunt s books, furniture, V — S C P GO PLATE . THE A E AT

The Apostles regarded it () as a symbol of the i Christ an Church , teaching both them and their followers submission ffl and patience under a iction. One important part of the cere mony was the binding a scarlet fillet round the head of this second goat when he was conducted away from the Temple , hooted at with x i . e ecration, and stoned unt l he was lost to sight in the wilderness P The High riest kept a portion of this scarlet fillet in the Temple , with the belief that it would become white if the corresponding fillet on the fugitive goat had done so , as a signal that the Almighty had forgiven their iniquities . The whole image is a perfect one of the persecution and trials borne by the Apostolic Church , and per ” da haps by the Church , as subtly understood, to this y. The picture was originally called Az az el it was painted near Oosdoom D E by the ead Sea. very minute the mountains became more gorgeous and solemn, the whole scene more unlike anything r ever portrayed. Afar all seemed of the b illiancy and preciousness l of jewe s, while near , it proved to be only salt and burnt lime, with decayed trees and broken branches brought down by the rivers feeding the lake . Skeletons of animals, which had perished for the most part in crossing the 'ordan and the 'abbok, had been swept here, - so uh and lay salt covered, that birds and beasts of prey left them t It ouched . was a most appropriate scene for my subject, and each ” minute I rejoiced more in my work .

Si r Cuthbert 'uilter is the owner of this picture.

42 HO LMAN H UNT

out of curiously proportion to the cause. Th e ’ Ger m , a magazine started at Rossetti s insti ati o n - g , to be the organ Of Pre Raphaelites, would have failed, it may be, in any case, for lack of funds ; but jealousy, and that hatred o f Old light which is peculiar to institutions, can alone account for the venomous reception o f the new pictures, when once the secret O f the letters became known . The Academy sprang to arms ; the Older artists, and their pupils, waxed furious. They enlisted literature o n their side. Dickens joined in the hue and cry. With the honourable exception Of Th e Spec t or at , every single paper attacked the men who had dared to break with tradition . Raphael had been insulted ; Raphael was, it appeared, the idol Of all England . t Ruskin came, flashing, o the rescue a year

’ Th e Tzmes later, with a letter to , in which he declared that since the days of Albert Dii r r e , there had been nothing in art so earnest or so complete as the pictures o f Millais and

Holman Hunt. They were not this year hung together ; they were placed in a less favourable f light . The onslaughts o the press were well HO LMAN H UNT 43

“ sustained . Valentine and Sylvia (the subject ’ “ taken from Shakespeare s Two Gentlemen ” ’ o f ff Verona ) had su ered, in part, from Hunt s distress of mind and the want of means occa s i oned by the bad conduct of a man whom he ’ trusted ; even after Ruskin s letter no one ventured to buy. Nobody came to him for a n ’ portrait ow. His father s acquaintance in the city offered to bet £1 0 that any picture of his

' would be sent back within a week. An0ny mous insults poured in upon him . A publisher, who had asked for illustrations of Longfellow, declined to publish them . Debt was staring him in the face, and failure seemed absolute . f re At this crisis o fortune, when he had solved that he must give up Art and adopt some other line of life— preferably that of a

— settler in the backwoods Millais came forward. He had freed himself from personal straits only r w n a week o t o earlier ; ow, with the warm of ff concurrence his father and mother, he O ered t o share every penny he had with his friend . His generous will to help overcame all re s i stance ; the money— repaid the following year —was advanced ; and the two Brothers went 44 HO LMAN H UNT

ff “ a o to together, to paint Opheli “ ” “ and The Hireling Shepherd. Valentine and Sylvia ” had been retouched and sent to Liver a of 0 ff pool, where prize £5 was o ered for the

finest painting.

Never did the two gentlemen, even in their native Verona, provoke more comment than followed their footsteps wherever they appeared in England . Immediately, anonymous s in ults in letters and papers began again . Week after week went by ; there was not a word from the authorities . At last it grew intolerable. The painter turned on his tor mentors. He had never seriously expected such distinction fo r a moment ; but he determined to write to the committee, and ask, by way o f bitter satire, why the prize had not been awarded to him . Happily, his designs, and a book in which he was interested, kept him up too late to begin that night . Next morning, as he sat at work not far from the house, he ’ “ heard Millais voice, Another letter from Liver pool ” ' “ Valentine and Sylvia ” had won the prize ; and they gave three cheers for the

Council in chorus. HOLMAN H U NT 45

The happy days o f comradeship at the old, ghost-haunted house called Worcester Park a Farm glided by all too f st. Millais became “ ” intent upon The Huguenot ; Hunt continued “ ” The Hireling Shepherd while the sun shone ; after dark he threw his strength into “ The Light of the World Whenever the moon was full, although it was s o cold that people skated u -of- in the daytime, he would work o t doors from nine at night until five the next morn h ing . For t e most part he enjoyed undisturbed

solitude, but now and then a friendly guardian of the public peace came to see what he was about “ Have you seen other artists painting land

scape about here he inquired . “‘ ’ ’ I can t exactly say as I have at this time 0 ” night, said the policeman . His nocturnal studies continued to arouse

interest even after the return to London . As ’ he was coming back to Chelsea on a bus o ne night the driver entertained him with descriptions of the eccentric persons who lived “ ’ there, Carlyle among them , and I ve been told as how he gets his living by teaching 46 HOLMAN H UNT people to write. Then he went on confi d i ll “ ’ ent a y, But I ll show you another queer ’ cove if you re coming round the corner. Yo u ’ ’ see him well from the bus. He s a cove, in the first place, as has a something stand ing all night at one winder, while he sits or s down at the other, stand , and seemingly - ’ is a drawing o f it. He doesn t go to bed like other Christians, but stays long after the last ’ bus has come in ; and, as the perli ce tells u us, when the clock strikes four, o t goes the as a g , down comes the gemm n, opens the

street door, runs down Cheyne Walk as hard as he can pelt, and when he gets to the end he turns and runs back again, opens his door, goes in, and nobody sees no more of him .

Pre Raphaelitism went steadily forward . ” The Light of the World was not yet ready, but the wonderful Academy o f 1 852 contained ” ’ “ ” The Hireling Shepherd, Millais and ’ The Huguenot, and s fine a “ picture, painted after the s me method, Christ ’ ” “ ” Washing Peter s Feet. The Strayed Sheep, a beautiful little landscape begun for a gentleman HO LMAN H U NT 47

“ who admired The Hireling Shepherd, but did not wish for so large a picture, was painted at f . o Fairlight, soon afterwards At the Academy “ 1 853 hung in the first “ ” 1 8 o f room . In 54 The Light the World was “ o f . finished, and sold to Mr. Combe Oxford The Awakened Conscience ” went to the Academy the

same year. And now a plan that had been in the artist’s

mind ever since, as a child, he listened to

the words of the New Testament at school, f found sudden fulfilment . The cry o the East was in his ears ; he would go to the East, and n paint a sacred picture there . As o so many

other occasions throughout his life, he met with violent opposition . He would lose all that he had gained at such cost and have to begin over again on his return ; he would find nothing

but overgrown weeds, no beauty that was not tenfold more beautiful in England ; he would get Syrian fever and be an invalid for the rest of his days ; he would die like Wilkie . Rossetti said that local colour interfered with the poetry of design . Ruskin said that he was giving up

the real purpose of his life, which was to train 48 HOLMAN H UNT a new school of art . What Millais said does not appear. What Millais did was to help in the packing, which had been left to the last minute, so that there was no time for dinner, and to rush to the buffet for any “ likely food ” that he could find and toss it into the rail way carriage after the train had begun to move. U pon a parting gift from Rossetti were written these lines from “ Philip van Artevelde

’ a There s th t betwixt us been , which we remember a ’ Till they forget themselves, till ll s forgot, Till the deep sleep falls on them in that bed ’ From which no morrow s mischief knocks them up .

THE EAST I regard the man who has not sojourned in a tent as one who has not ” thoroughly lived .

W. H . H .

The first period of life was over. The mystic letters were used no more ; after the savage o n s laughts o f the press it had been determined that

HO LMAN H U NT 5 : Pre-Raphaelites should be recognised by their

n . work alone, ot by any arbitrary signal Hence forth each of the Brothers followed his ownline .

Marriage came in due course . Mr. Holman Hunt has been twice married ; he has two sons and a daughter. “ The Scapegoat —a subject which he had thought of suggesting to Landseer— was painted by the shore of the Dead Sea. After many negotiations, for the country was in a troubled en state and he risked his life by going, he a f camped there, with little band o followers o ne to protect him, and a goat . Soleiman, of

— the Arabs, desired though only seven years

— younger than himself to be his son . By what name should he call him ? Hu nt ? That was

Holman no name at all . That was not Wi lli am much better. , however, pronounced ” ” “ ll um “ W u a , he found very good .

One night, when the dews fell heavily, and they were some way from the encampment, of ff o f Hunt, afraid the e ect a chill, began waltzing— with his gun for a partner— to keep himself warm . Soleiman was overcome with encef rth amazement. H o let me be your brother, 52 HOLMAN H UNT said he— unconscious that he had become a Pre Raphaelite— as he flung his arms round the neck of man “ this wonderful . You are indeed i n

ar ne spired ; you dance like a dervish ; you e o . ” “ ” Y es Can you do it again ? , my brother, and away the wonderful man went, a second and a a third time, ag in and yet again . He was asked to repeat the performance for the benefit o f the others, who yelled with delight when o f they heard it, but this he declined to do ; and the next day Soleiman invited him to f marry the daughter o the sheik his uncle, and to become sheik instead of himself when the old man died, that he might lead the tribe in a a as - o f b ttle, and ct dancing dervish in times a ? pe ce. Where had he been born ? In London What was London — a mountain ? or a plain ? Not a city like with walls and gates ' and shops Never, my brother I will never believe that you are a citizen— never ' I know

s you are an Engli h bedawee, and you were ” born in a tent . In spite of all this filial and fraternal affection, Soleiman was not much good when danger threatened . There are ” “ ne da robbers, he declared o y ; they are HO LMAN H U NT 53

— wo on coming this way one, t , three, horse

— — wo on . back, and t wait, three yes, four foot

You must put down your umbrella, shut up your picture, cover it with stones . They will not be here for an hour. We will go up in ” “ ” the mountains. No, said Hunt, he should stay where he was, it was a good work that he had in hand ; Allah would help him ; he was a quite content . After several passionate p ff i a peals, o went Sole man by himself, t king the donkey. The robbers presently appeared, o n seven of them, foot and on horseback, armed with long spears, with guns and swords and

n . clubs . The painter painted o unconcernedly

They drew up in a semicircle round him, and the chief shouted for water. The artist looked ’ at him from his head to his horse s feet— at er the oth s also, and then resumed his work.

Again the chief clamoured . They might have da water, the artist said at last, since the y was hot ; but Englishmen were not the servants o f

Arabs, and he was an Englishman ; they must fetch it themselves . And he continued to paint . “ “ Are you here alone ? they inquired . No ; ” there was an Arab . Thereupon they requested 54 HOLMAN H UNT “ I ’ that he might be called . But don t want him, “ W ” “ e . said the artist . want him Well then,

ou . . y call him His name is Soleiman Soleiman, “ however, made no reply. There is no one, or ” “ he would answer, they said distrustfully. He ” is afraid . You know best how to reassure him . At length Soleiman came slowly down through

the rocks, driving the donkey. A long conversa tion followed— a wonderful description by his “ ” brother of the gun with two souls which he f had, o the pistol that would fire more than five o f times without reloading, his accomplishments as a dancing-dervish and as a story-teller (es peci L t f ally about o ), o the manner in which he wrote

all day in coloured inks the sky, the mountains, the n o . plain, the sea, even the salt, that large paper

The Arabs became intensely suspicious . What could these things mean ? He had the white

goat led over the ground, they supposed, to

charm it. He was a magician . He would go back to England ; he would wipe out the coloured inks with a sponge ; he would find the Cities of the Plain underneath ; he would be lord of a great treasure . For the present they agreed that they would let him alone ; but

56 HOLMAN H UNT

and “ Innocents The Holy Fire . A number o f Mahommedan ladies, from the harem o f a ” “ ff a neighbouring e endi, c me to the house at “ ” s Jerusalem, and asked to see The Innocent , while it was still in progress. The leading lady counted up the figures .

“ a a and Seventeen b bies in the l rge picture, several more a a 1 a a in the sm ller one, with the Sib Miri m, Al Iss Messi h, n u i f a “ a d Mar s . D ' This is very well, she s id, but on the ay ” ” “ a ? I returned can of 'udgment wh t will you do Ah, , I B eneficent a as k trust only in the mercy of the ; but why, pr y, “ a ? a me th t question She returned, Bec use the souls of a a a these beings th t you h ve m de will be required of you , ” and a s a ? a wh t will you y then My reply, justified on met “ a was I physic l principles, , hope every one of these will be ” present to justify me . She looked bewildered, but then “ fl re- a a a O h turning to her ock , echoed my ssur nce, s ying, , can a f G od if indeed you s tis y the 'ust with their souls, it will be well with you 2

Music and rosy dawn are the inspiration of ” M ay Morning ; on Magdalen Tower a band of choristers chant their hymn to the Light o f

Heaven, according to ancient custom, upon the “ f h l ” 1 st of May. The Lady o S a ott is fresh in

1 The V irgin Mary. 2 - s . V OL 11 28 Pre Raphaeliti m, etc , 1 P 3 HO LMAN H UNT 57 the recollection of all who have seen her. “ ” A larger version o f The Light of the World has been purchased recently by Mr. Charles

Booth, for the benefit of the nation . Since that time the artist has not been able to work . 1 In 1 88 Rossetti died . His former comrade offered to visit him when he heard o f the illness ; but the offer was courteously declined 1 8 6 by Mr. William Rossetti . In 9 grave fears began to be expressed about Millais . “ of The truth his doomed condition, at first resolutely ignored, came very suddenly to him, and then day by day he stepped down into the grave, but never lost his composure ” or noble personality. These quiet words are the fitting close of the tribute paid to him by his oldest and greatest friend, in that book which is a record as much o f friendship as o f art . 58 HOLMAN H UNT

III THE SU B'ECT PICTU R ES

x in r One scarcely e press purpose our refo m, left unsaid by reason of i ts was - fundamental necessity, to make art a hand maid in the cause of justice ” W and truth . . H . H . The vital ambition of an arti st is to serve as high priest and expounder of the excellence of the works of the Creator— choosing the highest types a - and combinations of His handiworks, as the Greeks t ught the after world to ’ i do, so that men s admiration may be fascinated by the perfect on of the ’ works of the Great Author of all , and men s life thus may be a continual joy and solace. The aim set forth in this declaration is not of the aim any school, however distinguished, but the aim, conscious or unconscious, of all great painters . It has been constantly pursued throughout the life of him who wrote n these words ; if we did ot put this first, we should err. The secondary purpose of his work— to give

England what she has never had before, a school o f artists ofher own— o fvast and infinite grandeur though it be, is yet subservient. Many technical questions beset a true re vi val which are of deeper interest to the actors in it than to the public at large . Such was the question of the introduction of oil as a PLATE V I L— THE H I RELING S HEPHERD

As to the pure white ground, you had better adopt that at once, s as, I can a sure you, you will be forced to do so ultimately, for Hunt M x and illais, whose works already kill everything in the e hibition for brilliancy, will in a few years force every one who will not drag ” behind them to use their methods . Ford Madox Bro wn to o wes Di cken on L s . M This picture is to be seen at anchester Art Gallery.

62 HOLMAN H UNT quarter Borgo Allegri ; but there were those who declared that art was at an end now the Byz an tine tradition had been broken . When the pictures o f the last Pre-Raphaelite shone out at a Burlington House, there were h ppy people who vowed they looked like “ openings in the wall there were als o those who declared that art had come to an end now the tradition o f Raphael was ignored . Steadily, through evil report and good report, the painter went his way. He did not hold— as Millais came to hold in after years that it was the business of the artist to find out what most people wanted, and to paint that . He did not hold— as Rossetti held— that it was the business of the artist to impose his will o na select band of followers, trained by himself to believe that the age of Dante was the Golden

Age, and that colour should be based on the principles of illumination . He held that a an artist was account ble to God . He held that an Englishman should study those minds, those words, which have more power over England than any others— should help to make those clear. “ Shakespeare had led him to rate lightly HO LMAN H UNT 63 f that kind o art devised only for the initiated, and to suspect all philosophies which assume that the vulgar are to be left for ever unre ” deemed . He hated newspapers because “ the influence of writers who have had no other qualifica tion to judge of art matters than the posses

r sion of more o less literary facility, has been deterrent and ever fatal to a steady advance o f ” taste . “ There are two aspects . Art presents the

’ form of a nation s spirit, exactly as the sound ing atoms o na vibrating plane make a constant and distinct pattern to the sound o f a given note . Likewise, All art from the beginning

’ served for the higher development of men s minds . It has ever been valued as good to

sustain strength for noble resolves . n Determined to serve his generation, ot as a playfellow, not as a tyrant, but as a master, he followed singly and faithfully that conviction which had led him from childhood to think of the Bible as the great factor in human exist 64 HOLMAN H UNT

T of ence . o the interpretation the Life of Christ he gave the best years of his manhood . In order to understand it more thoroughly he broke away from comfort, he risked success at the moment when first she smiled on him, he left the friend whom he loved . It was not “ ” of enough to paint The Light the World, to set before the eyes of his countrymen the K eternal ing, the eternal Priest, knocking at

of the door the human heart, barred darkly in behind the weeds of selfishness . He would go to the country where the K ing dwelt. He would show

God a as was (1 ) The coming of to e rth, it seen by the a a a was dim eyes of tr dition, of mort l le rnedness, when there a R a found within the precincts of the Temple, mong the bbis, had a a Child who forgotten to return to his p rents . (2) The oneness of Creation in the form of the suffering a D ea — G a cre ture dying by the ead S shore the o t, the type of L the amb . a a (3 ) The s credness of l bour, in the form of the Son of Man resting from toil in that low workshop where the a V irgin Mother hoarded the gifts of reg l wisdom . (4) The young immortal beauty ever to be seen by the God a Child of , by the spirit of m iden purity, turning the a a a torrent of de th into the river of life, m king the d rkness as -da the noon y. HOLMAN H UNT 65

To the Bible, Holman Hunt gave his man — n hood to Shakespeare, his youth ' No o e

’ who desires to add to the store of England s

ne r thought but must, at o time o another, plunge deep into the mind o f her greatest f thinker. It is a sign o the unthinking nature o f English art that, before this time, there were no illustrations of Shakespeare worth the - name. It is characteristic of the pre eminently thoughtful nature o f this artist that he should have chosen two subjects that are often mis understood, from two plays that are hardly ever acted— the subject of Forg i venes s from the Two Gentlemen of Verona ; the subject Death “ to -be-{ar efl r r ed -bef or e-s lavezgz from Measure ” for Measure. The duty of the Forgiveness of Sins— which A ‘ has been well defined in the one word, fi ec li on— a duty canvassed and discussed every

— where is, in Shakespeare, deprived of the very f aspect o a duty. It seems to have appeared to him not only natural but inevitable that

anybody should forgive anybody anything. The 66 HOLMAN H UNT most astounding o f all his reconciliations i s “ ” of that the Two Gentlemen . Valentine has to forgive Proteus ; Sylvia has to forgive Pro teus and Valentine into the bargain ; Julia has to forgive Proteus ; and Proteus has to forgive himself. U pon the stage we have seen an f actress, in despair at the di ficulty of the thing, turn her back to the audience and lean against a tree while the discussion was going n o ; but in the picture Sylvia kneels, her hand f left trustingly in that o Valentine, and we have no sooner looked at it than we be lieve and understand . It is the same with that difficult moment of Measure for M ea

of s ure, when the two sides life speak in the brother and sister

a a Death is fe rful thing, a And shamed life a h teful .

re The nun, we are sometimes told, is a pellent person ; what business had she to urge her brother to die when she could save him by doing wrong herself ? To look at “ Claudio and ” Isabella is to believe her and to understand . HO LMAN H U NT 67

Another picture owes its motto to one ’ o f Edgar s mad bursts of song in King ” Lear.

wakes t Sleepest or thou, jolly shepherd Thy sheep be in the corn ; a minnikin And yet one bl st of thy mouth, T a a ” hy sheep sh ll t ke no harm .

It is not an actual shepherd and shepherdess who are seated in this leafy English landscape, among the green pastures and by the still f waters . Still less is it the kind o shepherd

r and shepherdess that Watteau, F agonard, and the china manufactory of Dresden have accustomed us to associate with the words .

Who and what are they, those careless people in the bright sunshine, letting the sheep eat the corn that kills them and the unripe apples ? ’ n The shepherd s crook lies idle o the ground .

’ He has found a death s-head moth ; he is too busy showing it to his companion to have any use for that. She is flattered and pleased that he should attend to her rather than to h t e sheep . 68 HOLMAN H UNT

When this picture was painted, the Oxford Movement was in the air ; the shepherd and

’ the shepherdess were alike busy with the death s h ead moth .

Turning to modern minds, the poet whose word weighed most with England at the time “ was undoubtedly Tennyson . A verse from In “ ” “ Memoriam describes The Ship. The Lady ” of S halott gave the subject of a work which took twelve years in painting. It was enlarged from a small design in a volume o f Tennyson illustrated by Hunt, Millais, and Rossetti ; and by several other artists, not of their persuasion . This particular illustration did not find favour

’ with the poet, he objected to the lady s hair, to her manner o f wearing it . The dream has been changed into a profound allegory. The — i f — lady is we mistake not the artist who, through neglect of the divine gift of reflective imagination, has failed in the high purpose of art . It was hers to weave the 'uest of the

Holy Grail, as she saw it in the magic mirror.

If she had stayed at her appointed work, all

HO LMAN H UNT 71 f had gone well. But she looked out o window to see Sir Lancelot— not the Sir Lancelot of - Tennyson, but a boastful, pleasure loving knight, going on his way in the sunlight, with two trumpeters before him . Then came the curse f upon her, for the order o the world was

of broken, the order the world all about her, f in the flower o the earth, in the bird o f the air, in the stars, governed and guided each n n by its ow angel. On o e side of her room order is strength as seen in Hercules— onthe other submission, as typified in the earlier b design by the Cross, in the later , y the

Nativity. This order she has broken, against this order she has sinned . The lovely pic ture of her weaving the likeness of the

Holy Grail itself will come to naught. But

ne S e up above there chimes the o word, fi s ; even for those who have failed there i s hope. The lady was trying to be a realist

Out flew and fl a . the web, o ted wide

The mirror cracked from side to side. 72 HOLMAN H UNT

“ ’ A man s work must be the reflex of a living image in his own mind, and not the icy double of the facts themselves . It will be seen that we were never realists. I think art would have ceased to have the slightest interest for any of us had the object been only to make

r f a representation, elaborate o unelaborate, o f a fact in nature . Independently o the con vi cti on that such a system would put out o f “ ” Operation the faculty making man like a God, it was apparent that a mere imitator gradually comes to see nature claylike and finite, as it seems when illness brings a cloud before the ” eyes . The practice of making independent studies for pictures which was clear to the heart of

Rossetti, was discouraged by Hunt and Millais because they feared to lose unity of effect if they dwelt upon details except in their relation to the whole . They painted, first the background, after the manner described, straight from Nature ; if possible, they placed the figures in the open air and studied them outside the studio walls. HO LMAN H UNT 73

There are curious differences to be noted

whenever the picture is repeated, and they seem to be always in the direction of s ome

thing more complex than the original . In the f “ larger version o The Hireling Shepherd, he

is far more subtle and sophisticated, while the s hepherdess looks older and more scornful . In “ the smaller version o f The Triumph of the ” o f I nnocents, the hues a soft, moonlit night

prevail, the Virgin is just a sweet mother, the

Child is blessing the children . In the larger version moonlight intensified, which was found

o f of by means a lens to be that the sun, bathes the children ; the Virgin, who is much o lder, gazes upon them with eyes in which a joyful wonder seems to be fighting still with

almost unconquerable sorrow ; the Child, a - wheat ear in his hand, has thrown himself back f in an ecstasy o divine laughter. The large - “ ” water colour of Christ among the Rabbis, the rainbow halo encircling the head of the - Child as he meditates, while the dark eyed n boys, Nicodemus and Stephen, look o , is 74 HOLMAN H UNT different in every respect from “ The Finding ” in the Temple.

PO R TR AITS AND OTHER WO R KS

An artist should always make sure that in his treatment of Nature alone he is able to incorporat some new enchantment to justify his claim as a master of his craft, doing this at times without any special interest in the ” . W subject he may illustrate . H . H . The principle given above has been followed “ ” “ in such works as Amaryllis, The Bride of ” “ ” Bethlehem, and Sorrow. There is but one portrait reproduced in this book, and that a copy of a very early one which was rescued from destruction by the artist’s ou mother. He was going to rub it t that he might use the ground for something else, and he objected to the rescue because it would cost him

s . 6d. 3 but she stood firm . The portrait painted of himself in later life, palette in hand, was executed for the gallery of great artists by “ z themselves at the U ffi i . The haunting Head ” of Rossetti, with fixed, intent eyes, was taken

76 HOLMAN H UNT noonday from “ The Strayed Sheep moonlight “ ” “ from The Ship ; soft starlight from The ” U Triumph ; the light pon the sea, the downs, f the mountains, the faces o men and women in the Open field ; the light o f strange fire ; the light o f human eyes inspired with hope and purpose ; f the radiant light o spiritual force. C HR O N O L O G I CA L L I S T O F T H E CHI E F PI CTU R E S M E NTIO NE D

Portrait of the Artist by Himself at Seven teen Woodstock (first picture sold— for £20)

T E ve Th he of St. Agnes ( e Flight of Made line’s Porphyro) R ienz i A Converted British Family sheltering a Missionary Claudio and Isabella V alentine and Sylvia The Hireling Shepherd The Strayed Sheep The Light of the World The Awakened Conscience The Scapegoat

The Finding of Christ in the Temple

a a Is bella, or The Pot of B sil The Ship 78 LI S T O F PI CTU R E S

The Triumph of the Innocents 1 875— 1 882 May Morning 1 889 The Lady of S halott 1 889 The Holy Fire 1 892

These dates are approximate ; the painting of a many of the pictures extended over sever l years.

The lates are rinted b MRO DAL 'I L TD W B L . atford p p y E SE E , , The text at the BAL A P E S E din r h L NTYNE R S , bu g