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Transcriber's Note: Errors, When Reasonably Attributable to The Transcriber’s Note: Errors, when reasonably attributable to the printer, have been corrected. The corrections appear underlined as corrected text. The original text appears when the mouse hovers on the underlined word or phrase. Please see the transcriber’s note at the end of this text for details. Footnotes have been resequenced to be unique across the book, and have been gathered at the end of the text. They are linked to their referents in the text. The illustrations have been moved to avoid falling within a paragraph. Each plate accompanied by a caption and attribution either on a previous or following page, and both caption and illustration were blank on their verso, and all four were not included in the pagination. The blank pages are not included here, obviously. DANTE ROSSETTI AND THE PRE-RAPHAELITE MOVEMENT “THE DAY-DREAM.” From the chalk. By permission of Mr. Theodore Watts. DANTE ROSSETTI AND THE PRE-RAPHAELITE MOVEMENT BY ESTHER WOOD LONDON: SAMPSON LOW, MARSTON AND COMPANY, LIMITED, SAINT DUNSTAN’S HOUSE, FETTER LANE FLEET STREET, E.C. MDCCCXCIIIJ CHISWICK PRESS:—C. WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE, LONDON, E.C. PREFACE. v The following pages do not afford any material additions to what is already known of Dante Rossetti, or of the history and purpose of the Pre-Raphaelite Brotherhood. The authoritative biography of Rossetti has yet to be written; and while availing myself fully of such new details as may cast fresh side-lights upon the dominant personalities of the Pre- Raphaelite movement, my aim has rather been to present the main features of that movement in their relation to the larger intellectual tendencies of the age, and to the moral principles which have determined the growth of taste and feeling in the nineteenth century. To this end I have avoided as far as possible the proper domain of the art critic, and endeavoured to deal with the Pre-Raphaelite movement more as an ethical than an æsthetic revolution. “It was always known to be Rossetti’s wish,” says Mr. Hall Caine in his interesting and graphic “Recollections of Rossetti,” “that if at any moment after his death it should appear that the story of his life required to be written, the one friend vi who during many of his later years knew him most intimately, and to whom he unlocked the most sacred secrets of his heart, Mr. Theodore Watts, should write it; unless indeed it were undertaken by his brother William. But though I know that whenever Mr. Watts sets pen to paper in pursuance of such a purpose and in fulfilment of such charge, he will afford us a recognizable portrait of the man, vivified by picturesque illustration, the like of which few other writers could compass, I also know from what Rossetti often told me of his friend’s immersion in all kinds and varieties of life, that years (perhaps many years) may elapse before such a biography is given to the world.” In the meantime, the present writer is indebted to Mr. J.A. Vinter, Rossetti’s fellow-student at the Royal Academy Schools, for some interesting reminiscences of class-room and studio life, and to the Rev. Walter Tuckwell, rector of Stockton, Rugby, for personal recollections of the Pre-Raphaelites at Oxford. Mr. Gerald Massey has also assisted with suggestions and notes. Through the courtesy of present owners of Rossetti’s pictures, several important drawings and studies are here engraved for the first time. Lord Battersea and Overstrand has kindly permitted a photograph to be made from the sketch in his possession, “Mary Magdalene at the Door of Simon the Pharisee.” A similar vii privilege has been granted by the Corporation of Birmingham in regard to their monochrome, “The Boat of Love,” and the beautiful unfinished study of “Our Lady of Pity.” I have also to acknowledge the kindness of Mr. Moncure D. Conway, in giving access to the fine study of the “Head of Christ” in his collection, and, by no means least, of Mr. Theodore Watts, in the matter of his two superb crayons, “The Day-dream” and “Pandora.” The “Beata Beatrix” and “Ecce Ancilla Domini” are from the now familiar paintings in the National Gallery. ESTHER WOOD. HAMPSTEAD, February, 1894. CONTENTS. CHAPTER I. THE PREPARATION FOR REFORM IN ART. PAGE Constable prophecies the Decay 1 of English Art—The New Impulse from Italy—The English Renaissance of 1850— Rossetti and the Specialistic Temperament—Classicism of the Eighteenth Century— Influence of the French Revolution—Revival of Romance—Contrast between Mediæval and Modern Romance—Pessimism in Pre- Raphaelite Painting—Nature as a Background—Moral Significance of the Change CHAPTER II. THE RENAISSANCE OF THE NINETEENTH CENTURY. Childhood of Rossetti—Religious 18 and Literary Influences—Art Training—Conflict between Imagination and Technique— Friendship with Millais and Holman Hunt—The Westminster Hall Competitions —Ford Madox Brown— Influence of Ruskin’s “Modern Painters”—The Early Italian Masters—The Renaissance in Mediæval Europe—Relation of Paganism to Christianity— Revival of Hellenism, and blending of Classic with Romantic Art—Growth of Technique and Return to Convention—The Rule of the Raphaelesque CHAPTER III. viii THE PRE-RAPHAELITE BROTHERHOOD. The Revolt from the 56 Raphaelesque—Influence of Keats and the Romantic Poets —The Pre-Raphaelite Brothers and their Early work—Travels of Rossetti with Hunt— Publication of “The Germ”— Hunt and Millais in the Royal Academy—Ruskin’s letters to the “Times”—Pre-Raphaelitism at Liverpool—The Pre- Raphaelites as Colourists CHAPTER IV. PERIOD OF TRANSITION. Influence of Browning and 92 Tennyson—Comparison of Rossetti and Browning— Influence of Dante— Introduction to Miss Siddal— Rossetti’s Water-Colours— Madox Brown and Romantic Realism—The Dispersal of the Brotherhood—Departure of Woolner—Ideals of Portraiture —Rossetti and Public Exhibitions—Death of Deverell —Rossetti’s Friendship with Ruskin—Apostasy of Millais— The Rank and File of the Movement—Relation to Foreign Schools CHAPTER V. LATER DEVELOPMENTS OF THE MOVEMENT. The Pre-Raphaelites as Book- 136 Illustrators—Moxon’s “Tennyson”—The “Oxford and Cambridge Magazine”—The Oxford Frescoes—Oxford Patrons of Millais and Hunt— Departure of Hunt for Palestine —The Pictures of Madox Brown—Further Developments of Rossetti’s Painting— Marriage and Bereavement —“Beata Beatrix”—Replicas —Life at Chelsea—Later Models—Designs for Stained Glass—Visit to Penkill —“Dante’s Dream”— Publication and Reception of the “Poems”—Paintings of Rossetti’s Last Decade—Death at Birchington CHAPTER VI. ix TREATMENT OF RELIGIOUS SUBJECTS. The Re-birth of Religious Art 196 —“God, Immortality, Duty”— The Pre-Raphaelites and the Reconstruction of Christianity —The Halo in Painting—Ideals of Womanhood—“The Girlhood of Mary Virgin” and “Ecce Ancilla Domini”—The Problem of Suffering—“Christ in the House of His Parents,” ”The Passover in the Holy Family,” “The Shadow of Death,” “The Scapegoat”— Hunt’s Symbolism—“The Light of the World”—Rossetti’s Symbolism—“Mary Magdalene at the Door,” and “Mary in the House of John”— The Idea of Victory through Suffering—Bethlehem Gate”— “The Triumph of the Innocents”—The Spirit of Inquiry—“Christ in the Temple”—The Atonement —“The Infant Christ Adored”—Comparison with Madox Brown and Burne- Jones—“The Entombment”—“The Tree of Life” CHAPTER VII. TREATMENT OF MEDIÆVAL AND MODERN ROMANCE. The Christian Element in Neo- 222 Hellenism and Romance —“How they Met Themselves” and “Michael Scott’s Wooing”—Mediævalism and Romantic Love—“Romeo and Juliet” and “Ophelia”— Millais’s Romantic Landscapes —“The Woodman’s Daughter,” “The Blind Girl,” “The Vale of Rest,” “Autumn Leaves”— Keats’s “Isabella”—Tennyson’s “Mariana” and “Idylls of the King”—The Idea of Retribution—“King Arthur’s Tomb,” “Paolo and Francesca,” “Death of Lady Macbeth,” “The Awakening Conscience,” “Hesterna Rosa,” “The Gate of Memory,” “Found,” “Psyche,” “Proserpine,” “Pandora”—The Idea of Duty—“The Hugenot,” “The Black Brunswicker,” “Claudio and Isabella”—Old and New Chivalry— “Sir Isumbras” and “The Rescue”—“The Merciful Knight,” “St. Agnes’ Eve”— Ideal and Platonic Love—“The Salutation of Beatrice,” “The Boat of Love,” “Beata Beatrix,” “Dante’s Dream,” “Our Lady of Pity” CHAPTER VIII. x THE POETRY OF DANTE ROSSETTI. The “Pre-Raphaelite” in Literature 259 —The Complexity of Talent in an Age of Re-birth—The Restoration of Romance in England—The Latin and the Saxon in Rossetti—Latin Diction for the Sonnets as Reflective Poetry—Saxon Diction for the Ballads as Dramatic Poetry—“The House of Life”—Treatment of Romantic Love—Illustrations of Sonnet-Structure— Miscellaneous Lyrics— “The Portrait,” “The Stream’s Secret,” “Dante at Verona,” “The Staff and Scrip,”—The Ballads—“The White Ship,” “The King’s Tragedy,” “Sister Helen,” “Rose Mary,” “The Bride’s Prelude,” “The Blessed Damozel”—“A Last Confession”—“Jenny”— Relation of Rossetti’s Poetry to his Painting LIST OF ILLUSTRATIONS. xi PAGE THE DAY-DREAM Frontispiece ECCE ANCILLA DOMINI 78 MARY MAGDALENE AT THE 116 DOOR OF SIMON THE PHARISEE PANDORA 157 BEATA BEATRIX 162 THE BOAT OF LOVE 180 HEAD OF CHRIST (STUDY 214 FOR “MARY MAGDALENE”) OUR LADY OF PITY 256 DANTE ROSSETTI AND 1 THE PRE-RAPHAELITE MOVEMENT. CHAPTER I. THE PREPARATION FOR REFORM IN ART. Constable prophesies the Decay of English Art —The new Impulse from Italy—The English Renaissance of 1850—Rossetti and the Specialistic Temperament—Classicism of the Eighteenth Century—Influence of the French Revolution—Revival of Romance— Distinction between Mediæval and Modern Romance—Pessimism in Pre-Raphaelite Painting—Nature as a Background—Moral Significance of the Change. A study of the Pre-Raphaelite movement in England at the zenith of the nineteenth century opens up perhaps a wider field for controversy in the ethics of art than is afforded by any other phase of modern painting. Between the ridicule which, for the most part, greeted Rossetti’s first picture, “The Girlhood of Mary Virgin,” in 1849, and the enthusiastic homage which exalted him, thirty years 2 later, to the dominance not merely of a school, but almost of a religion, lies a ground of infinite question and dispute, still awaiting the historian who shall adjust the issues of the strife to the main thought- current of the period.
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