## INTRODUCTION

The Pre-Raphaelite Movement was the climax, and the triumph, of certain tendencies which had long been implicit in English painting and poetry. It was, in fact, the final manifestation of the Romantic movement, and the fresh lyricism, and spontaneous intensity, which characterise it, can be paralleled in such earlier works as the early drawing of Palmer and Calvert, the poetry of Keats, and, most obvious example of all, Tennyson's 1830 poems; but all these were, so to speak, "underground," and overwhelmed by an academic tradition of unusual dullness.

Apart from portraits and landscapes, there were, broadly speaking, two kinds of academic painting in the early XIX century: one, derived from Dutch XVII century genre, and specialising in facetious or sentimental anecdotes of the deserving poor, of which Wilkie was the most conspicuous practitioner; the other, the so-called Grand Style, in which a set of rules, derived from Raphael, were applied, mechanically and with excruciating dullness, by people like Benjamin West. To Millais, Rossetti, and Holman Hunt, who in 1848 founded the Brotherhood, both seemed to be trite, dull, and with no genuine feeling to express. The expression "Pre-Raphaelite" was coined by them in a moment of youthful impatience with the outworn classical rules deduced by Reynolds from the Italian High Renaissance; their knowledge of Italian art before Raphael was slight, confined to a few engravings, and of Raphael himself they knew nothing, and if any analogy with XV century painting is to be sought, it is from Flemish rather than from Italian primitives that they derived their small, detailed, jewelled, technique, and their method of painting in transparent colours over a brilliant wet white ground.

Pre-Raphaelitism was a quintessentially English movement; it is possible to point out continental analogies, notably in the work of the German "Nazarene" group.

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and of the other German romantic painters of c. 1820-30. The former were too specifically religious—"Early Christian," as Holman Hunt called them; and the latter, whenever in domestic genre scenes they approach the Pre-Raphaelites, too little intense. The "Nazarenes" affected both Madox Brown (in, for instance, "Chaucer at the Court of Edward III"), and Dyce (in, for instance, "Christ and the Woman of Samaria") both of whom studied in Rome, where the Nazarenes worked. But the fusion of morality, realism, and intense passion, which is the essence of Pre-Raphaelite art, is a quality particularly English, and apparently incomprehensible outside England.

The two essential principles of the Pre-Raphaelite creed were: to avoid the emptiness of "ideal form," everything in a picture should be copied as literally as possible from nature; and to avoid banality of subject, a painting must embody some profound moral truth. But, of the three, only Hunt remained faithful to these ideas, for never were three more dissimilar people combined in an artistic purpose. Yet each supplied qualities which the others lacked; the technical brilliance and exquisite draughtsmanship of Millais, and his somewhat shallow and unimaginative mind, found their complement in Hunt's passionate moral sincerity, which transcended his somewhat clumsy execution; while Rossetti, whose scanty technical resources, (which he mostly owed to the instruction of Madox Brown and Hunt) were so out of scale with the profoundly intellectual and imaginative qualities of his mind, inspired the others with something of his own poetic intensity.

The Pre-Raphaelites were, unashamedly and proudly, literary painters. Significant Form was then unheard of, and the subject, one might almost say the plot, of a picture was one of the most important things about it. This is particularly the case with Hunt, who held that art's function was to convey a moral lesson; though in such of his pictures as "The Hireling Shepherd" and "The Scapegoat," it is impossible to understand the moral without the elaborate explanations provided by the artist.

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Millais did not feel this so strongly—in fact one may
doubt whether he felt it at all, and whether, with him,
the subject was of any importance except as an excuse
for displaying technique. The moral attitude is nothing
new, and can be paralleled in Hogarth: as can the use
of a rather obvious symbolism to underline the theme,
such as the passion-flower between the man's fingers in
"April Love," or the cat playing with a bird in "The
Awakening Conscience."

The naturalism of Hunt and Millais, and of the artists
under their influence, was such as to transcend nature
herself. The elaboration with which every inch of the
picture is burnished is partly due, of course, to the reaction
against generalised "ideal form," and to the new scientific
attitude to nature, best illustrated by Ruskin, as passionate
a geologist and botanist as he was an æsthete; there is also
what may be called a Protestant reverence for truth for
its own sake, (in the "Carpenter's Shop" Millais used a
real carpenter as the model for St. Joseph, to ensure get-
ting the correct development of the arm-muscles); besides
these reasons, there is the wish to enhance the emotional
force of the theme; it is noticeable that in many of these
pictures the protagonists are shown at some agonising
crisis of feeling, the intensity of which is conveyed to the
spectator by the overcharged vividness with which every-
thing is stamped on the eye.

Rossetti was not a naturalist, or a moralist. His few
attempts in either direction were failures. He differed
radically from the others, in using a flat, almost two-
dimensional, pattern of colours, combined, in a way some-
what analogous to notes of music, to express an emotion.
For this he perfected a peculiar water-colour technique,
derived ultimately from mediæval illumination, working
on a small scale with dry bright colours. Up to 1862 he
painted very little in oil; neither "The Annunciation"
nor "The Girlhood of Mary Virgin," nor "Found," can be
called successful, while in "St. Catharine" (1858, No. 68)
and "Bocca Baciata" (1859) he used oil as though it was
water-colour.

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Of the four other Pre-Raphaelite Brethren, F. G.
Stephens was the most distinguished as a painter, though
his over-scrupulous tendency to self-criticism prevented
him from fulfilling the promise of his "Mother and Child":
Collinson was a feeble painter of insipid genre pieces, who
owed his place in the Brotherhood to Rossetti's support,
and his place in history to his abortive love-affair with
Christina Rossetti; Woolner was a sculptor, and William
Rossetti confined himself to writing.

There were a few others who, though never actually
P.R.B.'s were closely associated with the Brotherhood. Of
these the most important were Hughes and Madox Brown.
Brown was some years older than the rest, and had had
the advantage of a thorough training on the Continent;
indeed, as a painter he is perhaps the best of the lot.
There is a toughness, and a largeness, in his work, which
manages to be detailed without being finicky. In pictures
like "Work" there is a tendency towards a kind of
Christian Socialism, which immediately provokes a com-
parison with his French contemporary Courbet; but his
uncompromising, sometimes dour, sometimes grotesque,
often satirical, realism, is in the direct tradition of
Hogarth.

Hughes, at his best, is capable of a gentle, exquisite,
tenderness, a lyrical innocence, which make him, in spite
of a certain technical feebleness, the most charming of
the group. He is perpetually on the edge between senti-
ment and sentimentality, but never loses his balance. In
technique he owes much to Millais, and also to Rossetti,
from whom he seems to have derived his predilection for
combining purple and green, which is almost a trademark
with him.

Walter Deverell was associated from the first with Millais
and Hunt, but for some reason he was never a P.R.B.
Few even of his few works have survived, but "The Pet" is
enough to show how promising was the career interrupted
by his early death.

These artists may be called the inner circle: outside
this is another circle composed of those with whom Pre-

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Raphaelitism was a passing influence; Brett, Windus, Wallis, Martineau, C. A. Collins, Bowler, Burton, Egg, and Calderon, who each produced one or two paintings in the full Pre-Raphaelite manner during the 1850's. There must also be mentioned the isolated and pathetic figure of James Smetham, who passed through a Pre-Raphaelite phase in the same period, and whose later pictures have an intensity reminiscent—though faintly—of Samuel Palmer.

In 1857 Rossetti visited Oxford, in connection with the scheme to decorate the Union. There he met Morris, Burne-Jones, and Swinburne, men several years his junior, and disposed, unlike Hunt and Millais, to regard him almost with worship. This initiated the second phase of Pre-Raphaelitism, which was entirely unlike the first: it was nostalgic, intense, and mediaeval, where the other had been equally intense, but fundamentally realistic. It is out of this later phase that the art of Burne-Jones (at first an ardent disciple of Rossetti, but afterwards influenced by the masters of the Italian quattrocento), and Simeon Solomon, springs.

By the early sixties the force of the movement had spent itself. Millais had become a painter of academic sentimentalities; Rossetti had begun to use the oil medium again and was producing half length female figures of a languid and mannered voluptuousness; Madox Brown, with a few exceptions such as the murals in the Manchester Town Hall, was entering on a new, and more deliberately romantic phase, derived from Rossetti; Hughes, his early intensity vanished, had relapsed into a feeble insipidity. Only Holman Hunt, with undiminished fervour, continued to live up to his principles; but in his later pictures the detail itself becomes as much a mannerism, and as far from nature, as Rossetti's exoticism.

Something should be said about Ruskin's place in the movement. He is sometimes spoken of as though he was its originator, and it is true that some of the opinions he expressed in "Modern Painters" (published in 1843) are

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identical with the basic creed of Pre-Raphaelitism: but the truth is, that both were independent expressions of the same zeitgeist. Ruskin played an important part in the movement's history: first when he constituted himself its champion in the face of academic opposition; and later, when his enlightened and generous patronage of Rossetti enabled the latter to continue painting the water-colours which are now considered his best work, instead of turning to some more obviously profitable way of making money.

The present exhibition follows another, and very much larger, one which was held at Birmingham last year, and which illustrated fully the development of the movement. This one must be regarded more in the light of an anthology of Pre-Raphaelitism, in which the exhibits are chosen primarily on their merits as works of art.

The pictures in the lower gallery are by Burne-Jones, and serve to emphasise the contrast between the passionate realism of the true Pre-Raphaelitism and the "æsthetic" langour of the movement which succeeded it, and which is often confused with it.

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CATALOGUE

JOHN BRETT, A.R.A.

1830-1902

An early member of the Pre-Raphaelite circle, he came very much under Ruskin's influence in the 1850's, and the Val d'Aosta seems to have been painted almost at Ruskin's dictation. The effort required by this remarkable tour de force evidently exhausted him, for he never again painted anything comparable. His later pictures are usually of marine and sea-shore subjects. A.R.A. 1881.

1 THE STONEBREAKER.

Canvas, 19¼ in. by 26¼in. Signed and dated 1857-8.
Lent by the Walker Art Gallery, Liverpool.
Painted at Box Hill, near Dorking.

2 THE VAL D'AOSTA

Canvas, 34¼in. by 26¼in. Signed and dated 1858.
Lent by Sir William Cooper, Bt.

FORD MADOX BROWN

1821-1893

Studied in Ghent, Paris and Rome, where he was influenced by the German "Nazarene" painters. Rossetti met him in 1848, and worked in his studio for a time as a pupil. He was not actually a P.R.B., though his style, throughout the 1850's, was entirely Pre-Raphaelite.

3 THE HAYFIELD

Oil, 9in by 12¼in.
Lent anonymously. Signed and dated 1855.

"Painted in Hendon late in the summer of 1855. The stacking of the second crop of hay had been much delayed by rain, which heightened the green of the remaining grass, together with the brown of the hay. The consequence was an effect of unusual beauty of colour, making the hay, by contrast with the green grass, positively red or pink, under the glow of twilight here represented." (1865 catalogue).

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4 THE LAST OF ENGLAND

Panel, almost circular, 32¼in. by 29¼in.
Lent by the Birmingham Art Gallery. Signed and dated 1855.
Suggested when Brown saw Woolner off to Australia in 1852.
Brown was in considerable financial difficulties at the time, and contemplated emigrating to India, and it is a portrait of him and his wife. There is some personal feeling in the note he wrote on it for his exhibition in 1865; "I have, in order to present the parting scene in its fullest tragic development, singled out a couple from the middle classes, high enough through education and refinement to appreciate all that they are now giving up . . . the husband broods bitterly over blighted hopes and severance from all that he has been striving for."

5 AN ENGLISH AUTUMN AFTERNOON.

Canvas, oval, 27¼in. by 53in. Signed.
Lent by the Birmingham Art Gallery.
Painted between 1852 and 1854, from the back window of his lodgings in Hampstead, where he was living "intensely miserable, very hard up, and a little mad"; it was sent to auction, where it only fetched "£9.9.0d., the frame having cost four." He wrote of it "the time is 3 p.m., when late in October the shadows already lie long, and the sun's rays (coming from behind us in this work) are already præternaturally glowing, as in rivalry of the foliage." (1865 catalogue).

6 WALTON-ON-THE-NAZE

Canvas, 12¼in. by 16¼in.
Lent by the Birmingham Art Gallery.
Begun in the autumn of 1859, finished early the next year. "The scenery of this part of the coast is full of freshness and interest. Cliffs and ridges of clay, intercepting salt-marshes, give it a certain Dutch-English character . . . the lady and little girl, by their let-down hair, have been bathing—the gentleman descants learnedly on the beauty of the scene." (1865 catalogue).

7 "WORK"

Canvas, 26¼in. by 38¼in. Signed and dated 1863.
Lent by the Birmingham Art Gallery.

A small version of the picture now at Manchester, which was painted between 1852 and 1858. The scene is on the west side of Heath Street, Hampstead, about half way up. The picture's theme is "Work as it now exists, with the British excavator for a central group, as the outward and visible type of Work." Round these were placed other figures: the "Brain-workers," Carlyle and F. P. Maurice; the unemployed, sitting under the trees; a beggar, with a tray of flowers; the rich, two ladies, one whose "only business in life is to dress and look beautiful for our benefit" and another who "devotes her energies to tract distributing," and a gentleman and his daughter on horseback.

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Attributed to FORD MADOX BROWN

8 AUTUMN EVENING

Oil, 23½in. by 36in.
Lent by Colin Anderson, Esq.

The history of this picture cannot be traced back beyond about 1890, when it was acquired by the late Mr. Arthur Kay of Edinburgh; he showed it to Millais, who pronounced it to be a Madox Brown "of the Bruges period." The attribution to Madox Brown seems to have been arrived at by a process of elimination; of all the artists of the period his is the least unlikely name to be attached to the picture. But this shows Pre-Raphaelite influence, of which there was none in Brown's Bruges period; furthermore, he kept a very full diary, with particulars of all his work during the time when he was under Pre-Raphaelite influence, which contains no reference to anything which can be construed as this picture. Also, it does not seem, at any rate to the compiler of the catalogue, to be equal in quality to Madox Brown's work.

It is perhaps possible that the picture is not English at all, but German, of a slightly earlier period.

EDWARD BURNE-JONES

1833-1898

Met Morris at Exeter College, Oxford, in 1854. Intended at first to become a clergyman, but the sight of a picture by Rossetti decided him to study art. At first he was strongly under Rossetti's influence, but soon developed an eclectic style of his own which reflects his study of Italian quattrocento masters, in particular Mantegna and Botticelli.

9 BEFORE THE BATTLE

Pen and Indian Ink, 8½in. by 7¼in.
Lent by the Fitzwilliam Museum, Cambridge.

Drawings of this kind, in very fine pen and ink, presumably in imitation of German engravings, are Burne-Jones' earliest works. The technique is entirely his, but the subjects, and even the composition, reflect Rossetti's influence; cf. "Before the Battle" with the 1857 watercolour "Going to the Battle" (in the collection of the Norton family, Boston, U.S.A.).

10 MORGAN-LE-FAY

Watercolour, 33in by 16in.
Lent by Cecil French, Esq.

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11 FAIR ROSAMOND

Watercolour, 33in. by 16in.
Lent by Cecil French, Esq.
This, and Morgan-le-Fay, were both painted in 1862, when the artist was still strongly under the influence of Rossetti.

TEN DESIGNS FOR "THE STORY OF PERSEUS."
Tempera on panel.
Lent by the Southampton Art Gallery.

12 PERSEUS RECEIVING THE MIRROR FROM ATHENA
60in. by 50in.

13 PERSEUS AND THE GRAIAE
60in. by 67½in.

14 PERSEUS ABOUT TO SEVER THE HEAD OF MEDUSA
60in by 54in.

15 THE ESCAPE OF PERSEUS FROM THE IMMORTAL SISTERS OF MEDUSA
59½in. by 53½in.

16 PERSEUS TURNING ATLAS INTO STONE
60in. by 75in.

17 PERSEUS SLAYING THE SERPENT
60½in. by 54½in.

18 THE RESCUE OF ANDROMEDA
61½in. by 50½in.

19 PERSEUS AND HIS BRIDE
61½in. by 50½in.

20 THE BIRTH OF PEGASUS AND CHRYSATOR FROM THE BLOOD OF MEDUSA
48½in. by 46in.

21 PERSEUS IN THE GARDEN OF THE NYMPHS
59½in. by 49½in.

The "Perseus" series was carried out between 1876 and 1888, as a commission from the Rt. Hon. Arthur Balfour, M.P. Those exhibited are the full sized studies, which, until their purchase by the Corporation of Southampton, were in the possession of Lord Faringdon.

page fifteen

22 LOVE AND THE PILGRIM

Oil, 62in by 120in.

Lent by the Tate Gallery.

Painted in 1896-97.

23 LOVE AMONG THE RUINS

Oil, 65in by 84in.

Lent by the Viscount Bearsted.

Painted in 1893. The first version of this picture was a water-
colour, painted in 1870-73. A frame-maker, to whom it was-
sent in 1893, thinking it was in oil, began to wash it, with
disastrous results, and Burne Jones painted this present larger
replica.

PHILIP CALDERON

1833-1898

A.R.A. 1864, R.A. 1867

24 BROKEN VOWS

Oil.

Lent by the Tate Gallery.

Exh. R. A. 1857.

The only picture by Calderon showing Pre-Raphaelite influence.
A smaller contemporary version is in Mr. Frank Madan's
collection.

WALTER HOWARD DEVERELL

1827-1854

A fellow student of Rossetti and Holman Hunt at the Academy
Schools, and assistant master at the Government School of
Design in 1848, Deverell was never actually a P.R.B.; though
from such of his works as have survived, it is clear that he
was a Pre-Raphaelite in fact if not in name.

25 THE PET

Canvas, 33in by 22¼in.

Lent by the Tate Gallery. Signed.

A portrait of the artist's sister, painted in the conservatory of
the house at Kew Green where he was living at the time.
c.1853.

WILLIAM DYCE

1806-1864

Born in Aberdeen. Studied in Rome, where he met the German "Nazarene" painters, who, like the P.R.B., wished to restore art to its primitive simplicity, but were more specifically religious. Dyce was influenced by them, and by the Pre-Raphaelites.

page sixteen

26 PEGWELL BAY

Canvas, 24¼in. by 35in.

Lent by the National Gallery.

Painted in 1858: the comet of that year, known as Donati's comet, can be seen in the sky to the right.

ARTHUR HUGHES

1832-1915

Influenced by Millais and Rossetti in the early fifties, but never actually a P.R.B. Made many admirable illustrations to children's books in the 'sixties; but his later painting is entirely without interest.

27 OPHELIA

Canvas, lunette shape, 24¼in. by 35in.

Lent by the Cobham House Girls' Club, Dover.

A contemporary replica, by Hughes himself, of the picture exhibited at the R.A. in 1852, and which was his first Pre-Raphaelite work.

28 APRIL LOVE

Oil, 18in. by 10in. Signed.

Lent by J. A. Gere, Esq.

A contemporary version of No. 30, exhibited at a semi-private
exhibition in 1856.

29 THE TRYST

Oil, 15¼in. by 11¾in. Signed.

Lent by the Tate Gallery.

There is no external evidence for dating this picture, but it
must belong to the early or middle 'fifties.

30 APRIL LOVE

Canvas, 35in. by 19¼in. Signed and dated 1856.

Lent by the Tate Gallery.

William Morris, while still an undergraduate, bought "April Love" from the 1856 Academy; Ruskin had previously failed to persuade his father to buy it, and wrote of it—"Exquisite in every way; lovely in colour, most subtle in the quivering expression of the lips, and sweetness of the tender face, shaken, like a leaf by winds upon its dew, and hesitating back into peace!"

31 THE LONG ENGAGEMENT

Canvas, 41¼in. by 20½in. Signed and dated 1859.

Begun in 1853, as "Orlando in the Forest of Arden." Hughes later painted out the figures, and substituted the curate and his betrothed.

page seventeen

32 AMY

Canvas, 12⅜in. by 7¼in.
Lent by the Birmingham Art Gallery.
Presumably connected with the same theme as "The Long Engagement."

33 HOME FROM SEA

Panel, 19½in. by 25½in. Signed and dated 1863.
Lent by the Ashmolean Museum, Oxford.
Painted in 1856, and exhibited in that year at a semi-private exhibition. There is reason to believe that the girl's figure is a later addition. The churchyard was that at Chingford, in Essex.

34 FERDINAND AND ARIEL

Canvas, 15½in. by 11½in. (arched top).
Lent by Mrs. Munro.
There is no documentary evidence to date this, but it must have been done in the early 1850's. Alexander Munro was the model for Ferdinand.

WILLIAM HOLMAN HUNT
1827-1910

A fellow-student of Millais and Rossetti at the R.A., and founder, with them, of the P.R.B. In 1854 went to Palestine to paint scenes from the Bible with as much circumstantial accuracy as possible. Continued, all his life, to paint according to what he conceived to be the principles of Pre-Raphaelitism. O.M. 1905.

35 A CONVERTED BRITISH FAMILY SHELTERING A CHRISTIAN MISSIONARY FROM PERSECUTION BY THE DRUIDS

Canvas, 43½in. by 54½in. Signed and dated 1850.
Lent by the Ashmolean Museum, Oxford.

The landscape background is in the Lea Marshes. The vine and corn are symbols of the civilising influence of Christianity; the fishing net is introduced as a Christian symbol, and because the Druids forbad fishing.

36 CANON JOHN DAVID JENKINS

Oil, 14in. by 10in. Signed and dated 1852.
Lent by Jesus College, Oxford.

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37 STRAYED SHEEP

Oil, 16½in. by 23½in. Signed and dated 1852.
Lent by the Tate Gallery.
Painted at Fairlight, near Hastings.

38 THE AWAKENING CONSCIENCE

Oil, 30⅛in. by 22in. Signed and dated 1853.
Lent by Colin Anderson, Esq.

"Intended as a 'material counterpart' to the Light of the World, 'representing in actual life the manner in which the appeal of the spirit of heavenly love calls a soul to abandon a lower life.' The man is playing the tune of 'Oft in the Stilly Night,' which reminds his mistress of her childhood home, so that she springs up with a look of horror. The expression on her face was apparently so harrowing that the owner of the picture asked Hunt to modify it, which he did. Ruskin, in *Modern Painters*, cited this as an example of 'painting taking its proper place beside literature.'"

39 THE SCAPEGOAT

Oil, 33½in. by 54½in. Signed and dated Osdoom, Dead Sea, 1854.
Lent by the Lady Lever Art Gallery, Port Sunlight.
Painted beside the Dead Sea in circumstances of considerable danger from bandits and wild animals. Intended as a symbol of the Christian Church.

40 KYNANCE COVE

Watercolour, 7½in. by 10¼in.
Lent by Vivian Morse, Esq.
Drawn c. 1860.

JOHN EVERETT MILLAIS
1829-1896

Born in Southampton of a Jersey family. Entered R.A. Schools at age of 11, where he was an infant prodigy. Founded the P.R.B. in 1848 with Hunt and Rossetti. A.R.A. 1853, R.A. 1863, P.R.A. 1890. He soon abandoned the Pre-Raphælite style for fashionable portrait painting and sentimental genre. One of the greatest of the English book-illustrators of the 1860's.

41 MR. JAMES WYATT AND HIS GRANDDAUGHTER MARY

Oil, 13½in. by 17½in. Signed and dated 1849.
Lent by Mrs. James Wyatt.

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42 MRS. JAMES WYATT, JUNIOR, AND HER DAUGHTER SARAH

Oil, 13¼in. by 17½in. Signed.

Lent by Mrs. James Wyatt.

Mr. Wyatt was a prominent picture seller and frame maker of
Oxford. He commissioned these portraits after buying Millais'
*Cymon and Iphigeneia* from the Academy in 1848.

43 LORENZO AND ISABELLA

Oil, 40in by 56in. Signed and dated 1849.

Lent by the Walter Art Gallery, Liverpool.

Begun in November, 1848 and "finished, at a pace beyond all
calculation" by May, 1849. The man drinking at the end of
the table is portrait of Rossetti.

The picture illustrates a scene from Keats' poem "Isabella, or
the pot of Basil."

44 FERDINAND AND ARIEL

Oil, 25¼in. by 20in. Signed and dated 1849.

Lent by Roger Makins, Esq., C.M.G.

The subject comes from The Tempest, Act I, Sc. ii. F. G.

Stephens was the model for Ferdinand.

45 MARIANA

Oil, 23¼in. by 19¼in. Signed and dated 1851.

Illustrating Tennyson's poem, "Mariana in the Moated Grange."

The garden outside is that of Millais' friend and patron Mr.
Combe, of the Clarendon Press, Oxford.

46 JOHN RUSKIN

Oil, 28¼in. by 24in., arched top. Signed and dated 1854.

Lent by Sir William Dyke Acland, Bt.

Begun at Glenfinlas, in the Trossachs, in the summer of 1853,
where Ruskin and his wife, and Millais and his brother were
all staying. It was after this that Mrs. Ruskin left her
husband and married Millais. In spite of this, Ruskin allowed
Millais to come to Denmark Hill and finish the portrait.

47 MISS SIDDALL WEARING A WREATH OF FLOWERS

Oil, 9½in. by 8¼in. Signed.

Lent by Sir Kenneth Clark, K.C.B.

Presumably a preliminary idea for "Ophelia." (1851-2).

page twenty

48 THE BLIND GIRL

Oil, 32in by 24½in. Signed and dated 1856.

The background, painted in 1854, is a view of Winchelsea.

49 STUDY FOR ONE OF THE HEADS IN "LORENZO AND ISABELLA"

Pencil, 9¼in. by 6½in.

50 STUDY FOR "LORENZO AND ISABELLA"

Pencil, 8½in. by 11½in.

51 GIRLS IN A MEADOW

Pen and Brown Ink, 7¼in. by 11¼in.

Lent by J. N. Bryson, Esq.

Sometimes said to be an early design for "Apple Blossoms"
(1856-59. Collection of Viscount Leverhulme), with which it
has no connection at all, except in the fact that one of the
girls in each is lying down chewing a bit of grass. The central
idea of "Apple Blossoms" was always that the scene should
be an orchard in full bloom; while the trees in this drawing
seem to be pollard willows. Also, the rather angular style of
the drawing suggests that it is early, c. 1850.

52 DESIGN FOR ILLUSTRATION TO "ST AGNES OF INTER-CESSION"

Pencil, 4⅝in. by 6½in.

PROOF OF THE ETCHING OF "ST. AGNES OF INTER-CESSION"

4¼in. by 7½in.

Made to illustrate the story by Rossetti, printed in his
"Collected Works" which had been intended for the unpub-
lished fifth number of "The Germ." Rossetti at first tried to
illustrate it himself, but could not manage the etching process
and destroyed the plate. cf note on No. 81.

page twenty-one

53 UNKNOWN SUBJECT

i. Pen and Brown Ink over Pencil, 4⅝in. by 7¾in.

ii. Pen and Brown Ink over Pencil, 4½in. by 6¾in.

Traditionally said to be a design for an illustration in the "Germ," but there does not appear to be any incident in the "Germ," as published, which can be connected with it.

54 DESIGN FOR ILLUSTRATION TO "MY BEAUTIFUL LADY"

Pen and Indian Ink, 10in. by 6½in.

Signed and dated J. E. Millais 1848 P.R.B. and insc. John E.
Millais to his P.R.B. brother Dante Gabriel Rossetti.

Illustrating the lines from Thomas Woolner's Poem:

"Or maybe that the prickles of some stem

will hold a prisoner her long garment's hem."

which appeared in the first number of the "Germ" with an
etching by W. H. Deverell. This design was not used.

55 GARDEN SCENE

Pen and Indian Ink, 10⅝in. by 7½in. Signed and dated 1849.

Lent by Mrs. Arthur Pollen.

Presumably a design for a page of a book; possibly for
Tennyson's "Princess."

56 STUDY FOR AN UNPAINTED PICTURE "A BARON NUM-
BERING HIS VASSALS"

Pencil and Pen and Ink, 9¼in. by 13¼in.

Another study of the same, dated 1850, is in the Tate Gallery.

57 STUDY OF THE HEAD OF MISS SIDDALL, AS OPHELIA

Pencil, 7in. by 10¼in.

The picture, representing Ophelia floating in the stream, is
now in the National Gallery: it was exhibited at the R.A.
in 1852. See also No. 47.

page twenty-two

58 STUDY FOR "THE EVE OF ST. AGNES"

Pencil 6½in. by 3¼in.

Study for the illustration to Tennyson's poem in Moxon's
illustrated edition of 1857: the design was later changed, and
the saint was shown standing, not sitting.

59 THE EVE OF ST. AGNES

Pen and Brown and Green Ink. Signed and dated JEM 1854.

Lent by Admiral Sir William James, G.C.B.

Illustrating Tennyson's poem.

60 STUDY FOR AN UNKNOWN COMPOSITION

Pen and Sepia and Wash, 10½in. by 6½in.

Signed and dated John Millais 1851.

61 THE RACE MEETING

Pen and Brown Ink, 10in by 7in. Signed and dated 1854.

62 THE GHOST

Pen and Brown Ink and Wash, 12¾in. by 10½in.

Lent by the Victoria and Albert Museum.

This, and "The Race Meeting" are from a group of drawings
of similarly dramatic scenes of contemporary life, made in
1853-54, others of which are reproduced in J. G. Millais,
"Life of John Millais" Vol. I.

WILLIAM MORRIS

1834-1896

A fellow-undergraduate of Burne-Jones at Exeter College,
Oxford. Began by being articled to an architect, then
on Rossetti's advice took up painting. This only lasted a year
or so, when he turned his attention to applied art, and founded
a firm for making wall-papers, furniture, stained glass, carpets,
etc. He later took up printing, and founded the Kelmscott
Press in 1890. He is best known as a poet, and was also a
pioneer of the socialist movement.

page twenty-three

63 LA BELLE ISEULT. (Also known as Queen Guenevere).

Oil, 28in. by 20in.

Lent by the Tate Gallery.

This is the only easel picture by Morris which is known,
though he apparently did do a few others. It was painted in
Oxford in 1857. The model was Miss Jane Barden, whom he
subsequently married.

DANTE GABRIEL ROSSETTI

1828-1882

Born in London, the son of an Italian refugee. Studied at R.A., and for a short time in the studios of Brown and Holman Hunt: together with the latter, and Millais, founded the P.R.B. in 1848. As great—or even greater—as a poet than as an imaginative draughtsman. After 1865 his style completely changed.

64 BEATRICE DENYING HER SALUTATION TO DANTE

Watercolour, 13½in. by 16½in.

Rossetti painted this subject twice, in 1851, and in 1855. The later drawing was a commission from Ruskin, and eventually came into the possession of Professor C. E. Norton, of Boston. It is not quite certain which the present drawing is, but it is probably the earlier one.

65 THE SALUTATION OF BEATRICE

Watercolour, 11½in. by 9½in. Signed.

Painted in 1852. Rossetti made various versions of this subject, some of them in the form of a diptych with Beatrice saluting Dante in Paradise on one side, and denying her salutation to him on earth, on the other.

66 PAOLO AND FRANCESCA

Watercolour, 11¼in. by 9½in. Signed.

Lent by the Tate Gallery.

The subject is taken from the fourth canto of Dante's "Inferno."
Rossetti had it in mind, in this triptych form, as early as 1849
but this, the earliest finished version, was done in 1855. There
are some earlier drawings of the same subject, with variants in
composition. A version of the whole triptych exists, dated 1861,
as well as one of the first compartment only, of which the date
is uncertain, but must be between 1855 and 1860.

page twenty-four

67 PORTRAIT OF MISS SIDDALL

Watercolour, 8½in. by 7¾in., oval. Dated 1854.

Lent by Sir Sydney Cockerell.

68 ST. CATHARINE.

Oil, 13¼in. by 9¼in. Signed and dated 1857.

Lent by the Tate Gallery.

This painting is unusual, in that all Rossetti's other pictures
of this period, of the same size and style, were in watercolour.

69 THE TUNE OF THE SEVEN TOWERS

Watercolour, 12¾in. by 14¾in. Signed and dated 1857.

Lent by the Tate Gallery.

One of a number of drawings of similar chivalric—or as
Rossetti himself put it, "Froissartian" themes—done in 1857,
under the inspiration of the *Morte d' Arthur*. The first drawing
of this sort was the "Arthur's Tomb" of 1854. The title in this
particular case is purely imaginary and allusive. Morris, who
was inspired by this drawing to write a poem of the same name
in *The Defence of Guenevere*, bought most of these drawings
himself.

70 THE DAMOSEL OF THE SANC GRAEL

Watercolour, 14in. by 4½in.

Lent by the Tate Gallery.

Painted in 1857. See note on The Tune of Seven Towers.

71 SIR GALAHAD AT THE RUINED CHAPEL

Watercolour and Bodycolour, 11¼in. by 18½in. Signed.

Dated 1859 by Marillier. A version of the woodcut illustration
to Tennyson's "Sir Galahad" which appeared in 1857 in
Moxon's Illustrated Tennyson.

72 MY LADY GREENSLEEVES

Watercolour, 12in. by 7in.

Lent by Cecil French, Esq.

Painted in 1859.

According to Fairfax Murray, the background originally con-
sisted of a landscape, which Rossetti, annoyed by some criticism,
painted over.

page twenty-five

73 TWO LOVERS

Pen and Brown Ink and Wash, 5¼in. by 4½in.
Lent by the Birmingham Art Gallery.

74 A LADY HOLDING A KNIGHT'S HELMET

Pencil, the head and hands laid in with carmine, and the face
tinted, 7½in. by 6½in.
Lent by the Birmingham Art Gallery.

Preparatory drawing for a watercolour, and of interest as
showing Rossetti's method of working. It may be connected
with the 1857 "Chapel before the Lists" (Tate Gallery). The
theme recurs in "My Lady Greensleeves," (No. 72), and was
used by Burne-Jones in "The Knight's Farewell."

75 A PAINTER AT WORK

Pencil and Pen and Brown Ink and Wash, 4½in. by 7in.
Lent by the Birmingham Art Gallery.

Fairfax Murray, who bought the drawing from W. M. Rossetti,
stated that the drawing was inscribed, in W. M. Rossetti's hand
"St. Cecilia," but this is no longer visible. Rossetti was very
fond of this theme; cf. the note on No. 81, "Study for
'Bonifazio's Mistress,'" also "St. Cecilia" (No. 87).

76 MISS SIDDALL

Pen and Brown Ink, 4¼in. by 4½in. Signed and dated 1855.
Lent by F. F. Madan, Esq.

77 STUDY FOR "PAOLO AND FRANCESCA"

Pencil, 9in. by 7in.
Lent by Miss Helen Munro.

See No. 66.

78 THE FIRST ANNIVERSARY OF THE DEATH OF BEATRICE,
DANTE DRAWING THE ANGEL.

Pencil, 13¼in. by 11½in.
Lent by the Fitzwilliam Museum, Cambridge.

A study for the pen and ink drawing, dated 1849, which Rossetti gave to Millais, now at Birmingham. This is a different composition from the well-known watercolour at Oxford.

page twenty-six

79 STUDY OF TWO GIRLS

Pen and Brown Ink Wash, 8¼½in. by 5½in.
Lent by the Birmingham Art Gallery.

On the back is a study by Miss Siddall for a drawing of
"Jephtha's Daughter": this is not among the drawings by her
listed by W. M. Rossetti (Burlington Magazine I, 1903, p. 273)
so it is of no use for dating the drawings on the other side:
he does, however, say that most of her work was produced
between 1854 and 1857.

Rossetti's drawing may possibly be connected with some illus-
tration to a ballad: it was never used in any completed
composition.

80 HEAD OF WILLIAM MORRIS

(Study for the head of King David in the "Llandaff Triptych")
Pencil, 9¾in. by 8¾in.
Lent by the Birmingham Art Gallery.

The "Llandaff Triptych" was commissioned from Rossetti in
1856 for Llandaff Cathedral. The subject is "The Seed of
David": the Virgin and Child, adored by a shepherd and a
King in the centre, with David as a shepherd in one wing, and
as a King in the other. Mrs. Morris was model for the Virgin,
and her husband for David.

81 STUDY FOR "BONIFAZIO'S MISTRESS"

Pen and Brown Ink and Wash, 7¾in. by 6½in.
Lent by the Birmingham Art Gallery.

The subject is a woman dying while her lover paints her
portrait. These drawings, and another in the collection of
Mr. Bryson, are studies for a watercolour, of which the where-
abouts are unknown, painted in 1860. The theme appears first
in the prose story, *St. Agnes of Intercession*, which Rossetti
wrote for the *Germ* and tried to illustrate himself with an
etching. He could not master the etching process, and the
illustration was eventually made by Millais.

82 HEAD OF MISS SIDDALL

Pen and Brown Ink, 4½in. by 4in.
Lent by the Birmingham Art Gallery.

83 MICHAEL SCOTT'S WOOING

Pen and Brown and Black Ink, 7in. by 8½in.
Insc. Michael Scott's Wooing, Burning lock of hair.
Lent by the Birmingham Art Gallery. (341'04).

page twenty-seven

84 MICHAEL SCOTT'S WOOING
Pen and Brown Ink, 7¼in. by 8½in.
Lent by Mrs. Munro.

Insc. DGR 1853 to AM. (Alexander Munro). Michael Scott's
Wooing.

This was a favourite subject with Rossetti, but exactly what it
means, is obscure: it seems to be a vision of Love, and other
objects, summoned up by Michael Scott (who was a famous
wizard in the Middle Ages) to please a lady with whom he
was in love. Another drawing is at Birmingham, and
a later drawing (1866), with different composition, was until
recently in the Trist Collection at Brighton; paintings of it
were twice commissioned, but never carried out, and a passage
from one of Rossetti's notebooks describes another version of the
subject.

85 DESIGN FOR "FOUND"

Pen and Ink, 9¼in. by 8½in.

Insc. DGR. I remember Thee, the kindness of thy youth, the
love of thy betrothed. Jerem. II, 2. Found.

This subject, of a countryman coming into London, and recognising his former sweetheart who has become a prostitute, was Rossetti's attempt to paint a "Pre-Raphælite picture" in the style of Millais and Holman Hunt; that is to say, a subject taken from modern life, with a moral. He began it in 1853, but the painting was never finished, though he continued working on it up to his death; it is now in the Bancroft Foundation, Wilmington, Delaware, U.S.A.

This kind of subject was very much in the air in the early '50's,
and the most important example of it is probably Holman Hunt's
"Awakening Conscience"; there are also one or two drawings
by Millais "illustrating unconsecrated passion in modern life."
The subject was also treated in poetry, by Rossetti himself, in
"Jenny," and W. B. Scott in "Rosabell."

Other studies for the painting are at Birmingham, and Mr.
Gordon Bottomley owns a small oil study, unfinished except for
the cart and calf, and the man and woman's head. Another
complete pen and ink study is in the British Museum.

86 DESIGN FOR THE WOMAN'S HEAD, IN "FOUND"

Pen and Ink over Pencil, 4½in. by 3½in.

87-89 DESIGNS FOR ILLUSTRATIONS TO MAXON'S ILLUST-
TRATED TENNYSON, 1857

page twenty-eight

87 ST. CECILIA

Pen and Brown and Black Ink, 3¼in. by 3¼in. Signed DGR.

Illustration to "The Palace of Art."

88 KING ARTHUR AND THE WEEPING QUEENS

Pen and Brown Ink, 3¼in. by 3¼in. Signed DGR.

89 MARIANA IN THE SOUTH

Illustration to "Mariana in the South."

90-94 STUDIES FOR THE DECORATION OF THE OXFORD
UNION

90 STUDY FOR GUENEVERE

Pencil and Pen and Brown Ink, 8⅝in. by 4¾in.

91 STUDY FOR GUENEVERE

Pencil and Pen and Brown Ink, 9¼in. by 12½in.

92 STUDY FOR LANCELOT AND GUENEVERE

Pencil and Pen and Brown Ink, 9¼in. by 7in.

Lancelot is a portrait of Burne-Jones.

93 STUDY FOR GUENEVERE

Pen and Brown and Black Ink, touched with Watercolour,
9⅝in. by 13in.

page twenty-nine

94 THE ANGEL OF THE SANC GRAEL

Pen and Brown Ink, 7¼in. by 4¼in.
Lent by the Birmingham Art Gallery.

Nos. 93 to 97 are studies for the mural painting which Rossetti carried out in the debating hall, now the library, of the Oxford Union, in 1857. He, and a group of others, including Burne-Jones, Morris, and Arthur Hughes, offered to decorate the walls with ten paintings of incidents in the Arthurian cycle. Rossetti undertook two subjects, *Lancelot asleep before the Chapel of the Sanc Grael*, which he described as "Lancelot prevented by his sin from entering the Chapel . . . he has fallen asleep before the shrine full of Angels, and between him and it rises in his dream the image of Queen Guenevere, the cause of all. She stands gazing at him with her arms extended in the branches of an apple-tree. As a comparison to this I shall paint a design I have made for the purpose, of the attainment of the Sanc Grael by Lancelot's son Galahad, together with Bors and Percival."

All these studies are for the first-mentioned composition: the other was never carried out, though Rossetti made a water-colour of the subject (186, now in the Tate Gallery). Preliminary drawings for it, and for the watercolour, are in the British Museum.

95 LANCELOT IN GUENEVERE'S CHAMBER

Pen and Black and Brown Ink, 10¼in. by 13¼in.
Insc. DGR Oxford 1857.

Usually thought to be a design for a third painting at the Union (see above); the inscription certainly suggests this, but there is no record of any third design having been contemplated by Rossetti. The drawing does not contain round spaces for the circular windows round which the frescoes were painted; nor does it seem to have been composed with any allowance for such spaces.

96 COMPOSITION STUDY OF AN UNKNOWN SUBJECT

Pencil, 4¼in. by 3¼in.

97 COMPOSITION STUDY OF AN UNKNOWN SUBJECT

Pencil, 9¼in. by 8¼in.

There is no clue anywhere as to the meaning of this subject: the drawing probably dates from c. 1857 or even earlier.

page thirty

98 MRS. JOHN HUNGERFORD POLLEN

Pen and Brown Ink, 11in by 9in.

Signed and dated August 30, 1857.

Lent by Mrs. Arthur Hungerford Pollen.

John Hungerford Pollen (1820-1902) was an Oxford don who came under Tractarian influence in the 1840's; and later becoming a Roman Catholic layman, devoted himself to decorative art. He was one of those engaged on the decoration of the Oxford Union in 1857, and this drawing was presumably made at Oxford.

99 MISS SIDDALL IN A CHAIR WITH A LIGHTED CANDLE BY HER

Pencil, 7¼in. by 5in.

At one time in the possession of W. M. Rossetti, who dated it c. 1859 or 1860, when Miss Siddall had become an almost permanent invalid.

100 MISS SIDDALL.

Pencil, 6¼in. by 3½in.

101 ANNIE MILLER

Pencil, 10½in. by 11½in.

Insc. on the back, in Boyce's hand: D. G. Rossetti, the maker of this sketch, to G. P. Boyce, January 26, 1860.

Probably the drawing referred to by Boyce in his diary, under December 28, 1859: "Annie Miller came and sat to me. Rossetti came in and made a pencil study of her. She looked more beautiful than ever." Annie Miller was a model, whom Holman Hunt for a long time wanted to marry; but the engagement was eventually broken off. Cf. Boyce's Diary, December 22, 1859.

102 TENNYSON READING "MAUD"

Pen and Brown Ink and Grey Wash, 8¼in. by 6in.

Insc. 1855 Maud.

Another version of this, inscribed *I hate the dreadful hollow behind the little wood, 27th Sept. 1855*, is now said to be in America.

The incident represented took place at the house of Robert Browning, when Tennyson read aloud the proofs of "Maud"; Rossetti made a drawing of it which he gave to Browning, and later, at Miss Siddall's request, made a copy of it. There seems to be some doubt as to which drawing is which; the fact of the other drawing being so exactly dated perhaps suggests that it is the original, and this the copy.

page thirty-one

103 MISS SIDDALL

Pencil, 7¼in. by 6in.
Lent by Cecil French, Esq.

ELIZABETH ELEANOR SIDDALL

1834-1862

Elizabeth Siddall was an assistant at a milliner's near Leicester Square, when she was seen by W. H. Deverell, who persuaded her to act as a model for his "Twelfth Night," and introduced her to Millais, who painted her as Ophelia. From about 1852, she became Rossetti's model, and her face recurs throughout his work in the 1850's. After a long and close association, he married her in 1861, but she died the next year. Her drawings, mostly produced, according to W. M. Rossetti, between 1854 and 1857, show the influence of her husband.

104 THE HAUNTED WOOD

Watercolour, 4½in. by 4¾in. Signed and dated 1856.
Lent by Mrs. Angeli.

105 CLERK SAUNDERS

Watercolour, 11in. by 7¾in. Signed and dated 1857.
Lent by the Fitzwilliam Museum, Cambridge.
Illustrating the ballad.

106 SIR PATRICK SPENS

Watercolour, 9¼in. by 9in.
Lent by the Tate Gallery.
Illustrating the ballad.

107 MEDIÆVAL SUBJECT

Watercolour, 5¾in. by 5⅝in.
Lent by the Tate Gallery.

The exact subject is unknown. It clearly shows the influence of Rossetti's "Froissartian" period, in particular of "Before the Battle," 1858, (coll. Miss Norton, Boston, U.S.A. repr. Marillier p. 100), where the same incident, a lady tying a pennon on a knight's spear, is represented.

108 MADONNA AND CHILD

Watercolour, 6¾in. by 3¼in.
Lent by J. N. Bryson, Esq.

page thirty-two

109 THE EVE OF ST. AGNES

Watercolour, 6¼in. by 4¾in.
Lent by Mrs. Angeli.
Illustrating Tennyson's poem.

JAMES SMETHAM

1821-1889

Born in Yorkshire. At first articled to an architect, but in 1843, entered the R.A. schools. Began by portrait painting, then became drawing master at the Wesleyan Normal College, Westminster. Afflicted with melancholia from 1877 onwards. Smetham met with little success as a painter, and has been remembered more for his posthumously published letters and essays.

110 THE FLIGHT OF PORPHYRY

Pen and Ink and Watercolour, 3¼in. by 4in.
Lent by the Tate Gallery.
Drawn in 1858. Illustrating Keats' "Eve of St. Agnes."

111 THAT BEDESMAN OLD

Oil 12in. by 18¼in.
Lent by Denis Smetham, Esq.
Illustrating Keats' "Eve of St. Agnes."

112 GOING HOME

Oil, 5¼in. by 8⅝in. Signed and dated 1867-8.
Lent by Denis Smetham, Esq.

113 THE FEEDING OF THE FIVE THOUSAND

Pen and Ink and Watercolour, 4¾in. by 6¾in.
Lent by Denis Smetham, Esq.

114 MEDIÆVAL SUBJECT

Watercolour, 11¾in. by 10in.
Lent by Denis Smetham, Esq.

What exactly the subject is, is obscure, but it seems to show the influence of Rossetti's "Froissartian" watercolours.

SIMEON SOLOMON

1840-1905

His earliest drawings, dating from the late 'fifties, are influenced by Rossetti. Early in the 'sixties he became an intimate friend of Swinburne, and his work of this period has a quality of rather sinister, and precious, sensuousness. In the late 'sixties he went completely to the bad, and his work after that is of little interest. He is interesting as being one of he principal links between the art of Rossetti and the "aesthetic" movement.

page thirty-three