The Pre-Raphaelites as Book-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.

The first and most fruitful decade of Pre-Raphaelitism in painting and poetry saw also the excursion of several of its leaders into the realm of book-illustration. In 1855 Rossetti, Millais, and Arthur Hughes combined to make a series of drawings for the second edition of a little volume of verse entitled “Day and Night Songs,” by William Allingham, a young poet well known to the Brotherhood since 1849. The efforts were not of an ambitious character. The weird little group of fairies dancing in the moonlight, by Arthur Hughes, reflected vividly the influence of Blake. Rossetti’s “Maids of Elfinmere” were of his most angelic-mediæval type, ascetically beautiful, and yet, if the phrase may be permitted, with a certain sensuous severity of look, a delicate and half-mystic passion, as of pure spirits newly wakened to the tenderness of the flesh.

A more important experiment in the same direction was made in 1857, when Rossetti, Millais, and Holman Hunt appeared among the illustrators of Moxon’s edition of “Tennyson.” Intimately charmed as they had all been with the “Idylls of the King,” and with such entirely “Pre-Raphaelite” poetry as “The Lady of Shalott,” the draughtsmen could hardly have found a more congenial sphere for design. The volume affords one of the most interesting records of the transitional work of the three painters. Woolner’s fine medallion of the young laureate formed the frontispiece. Then followed Millais’s “Mariana”—a composition wholly distinct from, and far inferior to, his “Mariana in the Moated Grange,” which had been shown in the Academy of 1851. The face of this Mariana is hidden in her hands as she turns with bowed head from the window, and from the sunset that mocks her grief with its imperturbable glory heedless and afar. Much less conventional in spirit is the passionate, strained figure of Rossetti’s “Mariana in the South,” crouching on her unrestful bed, and kissing the feet of the crucifix above her as she draws from her bosom the “old letters breathing of her worth.”

In the design for “The Lady of Shalott” Holman Hunt exhibits traces—very unusual for him—of the influence of Rossetti upon his own work. For pathetic dignity and sensuous grace, the entangled lady, girt about with the web of dreams, might well stand among Rossetti’s children, and not be detected as of other birth. Rossetti’s own “Lady of Shalott” is much less fair a type, and belongs to the earliest and most archaic manner of his Arthurian period. Much more characteristic of the painter’s individuality is Holman Hunt’s “Oriana,” a grave, strong woman like his later Madonnas, whose mien belies the conventional sex-theory which ascribes to man alone the “wisdom-principle,” and assigns to womanhood the principle of “love.”

Rossetti, again, seems to have been largely influenced by Madox Brown in his illustration to “The Palace of Art,” save for the highly characteristic drawing of the girl at the organ, whose pose is almost identical with that of the dead Beatrice in “Dante’s Dream,” of a much later date. “Sir Galahad” is, however, entirely original in manner, and represents the best level of Rossetti’s Arthurian designs. It shows the knight halting, weary but not dispirited, at a wayside shrine, and bending with worn and yet resolute face over the holy water that awaits the pilgrim-worshippers. His horse, bearing the white banner marked with the red cross of sacred chivalry, stands at the gate, and a group of nuns are seen within, ringing the chapel bell.

The facile simplicity and grace of Millais, who was more accustomed to the task of book-illustration than his collaborateurs, found favourable scope in “Edward Grey” and “The Day-dream,” in which the figure of the half-awakened girl in the Sleeping Palace is drawn with exquisitely tender charm.

The edition, on the whole, probably tended to increase the reputation of the Pre-Raphaelites as draughtsmen, and to dispel some hard-dying illusions as to their distinguishing qualities in design, though its independent merits were not of exceptional mark.

Only once again does Rossetti appear in the field of book illustration. In 1862 he executed two designs for the first volume of poems published by his sister, Miss Christina Rossetti, under the title of “Goblin Market.” These drawings (“Buy from us with a golden curl” and “Golden head by Golden head”) were followed in 1866 by two more of a similar character (“The long hours go and come and go,” and “You should have wept her yesterday”), to illustrate the second volume of poetry from the same pen, entitled, “The Prince’s Progress.”

But the fame of the Pre-Raphaelites as poets was already enhanced, within an increasing circle of appreciators, by the publication, in 1856, of a journal which may, to some extent, be regarded as a successor to the “The Germ.” “The Oxford and Cambridge Magazine,” edited by Mr. Godfrey Lushington, had the better fortune to survive for a year, in monthly numbers; though all its contents were anonymous, and its issue involved no less labour and anxiety on the part of its sponsors, if not so much pecuniary onus as in the case of the more luxuriously printed and illustrated “Germ.” The new publication contained several of Rossetti’s finest poems, such as “The Staff and Scrip,” and “Nineveh,” and a series of mediæval romances and poems by two young artists destined henceforth to be intimately associated with the Pre-Raphaelite movement, and to exert important influence on its later developments—William Morris and Edward Burne-Jones. Both were Oxford men, and had been close friends at Exeter College, whence in 1856 came Burne-Jones to London with the express desire of meeting and knowing Dante Rossetti, his senior by five years; he having been born in Birmingham on the 28th of August, 1833, and educated at King Edward’s School in that city, proceeding to Oxford in 1853.

It was at the Working Men’s College in Great Ormond Street that Burne-Jones first saw Rossetti, and, through the introduction of Mr. Vernon Lushington, entered upon the friendship which was to save him (as his friend William Morris was similarly saved) from adopting, as had been intended, the Church as his profession, and thus depriving, the world of a service no less religious in the highest sense, and no less potent a factor in the ethical awakening of to-day.

The Working Men’s College, now rich in annals of some of the most significant intellectual movements of the mid-century, was at that time a centre of enthusiastic work in art and literature. Rossetti and his friends took a considerable share in the lecturing and class-teaching of which Charles Kingsley and F.D. Maurice were the popular and indefatigable leaders. Hither also came Ruskin, of whom Rossetti records with loyal admiration how one night, being asked in an emergency to address the drawing-class, he made, without any preparation, “the finest speech I ever heard.”

Rossetti’s growing intimacy with Oxford collegians, and the ties of sympathy already formed in Oxford round the Pre-Raphaelite painters by the clientèle of Millais and Hunt, now led him into an enterprise which has been the subject of much Philistine mirth, and of some laboured apologetics on the part of the too-serious historian. There is no doubt that Rossetti and his collaborateurs made quite as merry as any of their critics over the ludicrous failure of their début as fresco-painters in 1857. But it was very natural that Rossetti, with his early enthusiasm for the fresco style yet awaiting an outlet, should have seized eagerly at the chance of trying his ’prentice hand on so engagingly favourable an area as the new hall of the Oxford Union Debating Society. Visiting the city in company with William Morris during the summer months, Rossetti was shown over the freshly completed building by his friend Mr. Woodward; and observing the blank spaces of the gallery window-bays, impulsively offered to paint on them a series of the “Morte D’Arthur” subjects which had so much engrossed his fancy during the past three years. The suggestion was readily agreed to, and Rossetti began to collect recruits for the campaign, which he perceived would afford ample scope for other labour than his own. Accordingly, at the commencement of the long vacation, a company of six young enthusiasts, embarrassingly ignorant of the first technical elements of mural painting, but unabashed by any such details in the path of success, fell confidently upon their fascinating task. The party consisted of Rossetti, Burne-Jones, William Morris, Arthur Hughes, Val Prinsep, Spencer Stanhope, Alexander Monro, and J. Hungerford Pollen, then Proctor at the University, who had already won some distinction by his painting of the beautiful roof in Merton College Chapel. The roof of the Debating Hall was now successfully painted, in a grotesque design, by William Morris, who also undertook one of the window-bays, and proposed as his subject “Sir Palomides’ Jealousy of Sir Tristram and Iseult.” Alexander Monro, the sculptor of the party, executed the stone shield over the porch. Burne-Jones selected for his fresco “Nimuë brings Sir Peleus to Ettarde after their Quarrel;” Arthur Hughes proposed “Arthur Conveyed by the Weeping Queens to Avalon after his Death;” Val Prinsep, “Merlin Lured into the Pit by the Lady of the Lake,” and J. Hungerford Pollen, “King Arthur Receiving the Sword Excalibur from the Lady of the Lake.” Rossetti’s subjects were “Sir Galahad Receiving the Sangrael” and “Sir Launcelot before the Shrine of the Sangrael.” The knight, in this last design, has just attained the sacred goal of his pilgrimage, and in his weariness has sunk down in sleep upon the threshold; but his sleep, even in that hour, is haunted by the face of Guinevere. So powerful was this composition in romantic force and imaginative fervour, especially in the haunting, passionate face of the Queen, as to make the speedy obliteration of this and its companion frescoes the more deplorable, in spite of the obvious crudities and incompetencies that blemish the whole series of designs. Obliterated they became, however, and hopelessly beyond restoration, within a very short time of their commencement;—finished they never were. Incredible as it seems, in these days of superior wisdom in the Young Person anent matters of Art, these brilliant young painters of 1857—three at least of them now in the first rank of fame in their several spheres—had not even attempted to prepare the raw brick surface for the reception of their pigments, but had cast their ordinary oil-colours direct upon the inhospitable wall. Time and the atmosphere made short work of such artless challenges of decay; and before any of the frescoes had attained completion the ardent little band were obliged to confess themselves defeated, and to retire somewhat ignominiously from the field. The enterprise had its pathetic, its humorous, and its entirely delightful side. The financial arrangement with the Oxford Union Council was that they should defray all necessary expenses incurred by the artists; and of this advantage the young Bohemians appear to have availed themselves to the full. Anecdotes abound to tell of the hilarious but very harmless festivities which mitigated the discouragements of their task. A contemporary undergraduate well recalls the mirth and chatter which he heard day by day as he sat in the adjacent library. Such a group of congenial spirits could not fail to enjoy the conditions of their companionship as much as the audacity of their task. They were favoured, further, with a new acquaintanceship of a very welcome kind; for it was here that another young poet, Algernon Charles Swinburne, was now introduced, as an undergraduate at the university, to the artists at their work, and added an important link to the chain of memorable friendships woven in these early years among the galaxy of genius which has illumined the England of to-day. It was in Oxford also, at the theatre one evening, that Rossetti saw, and succeeded in getting introduced to, the beautiful lady who afterwards became William Morris’s wife, and Rossetti’s most cherished friend through all his troubles. She was the model for his “Day-dream” and several others of the finest of his maturer works.

The hapless frescoes are now hardly recognizable upon the Oxford walls, but their dim ghosts linger, like the kindly witnesses of days fruitful, at least, in loves and friendships of sacred import on the lives of the young sojourners in that “home of lost causes, and forsaken beliefs, and unpopular names, and impossible loyalties,” as Matthew Arnold called it.

Moreover, it was at Oxford that the Pre-Raphaelite movement, five or six years earlier, had found some of its first and most generous patrons; such as Mr. James Wyatt, the well-known picture-dealer, who was among Millais’s readiest buyers, but died in 1853, and Mr. Thomas Combe, the University printer, who, through Millais’s influence, purchased Holman Hunt’s youthful and little-known picture, “Christian Priests Escaping from Druid Persecution,” in 1850. About three years later, Holman Hunt was on a visit to Mr. and Mrs. Combe while his greater work, “The Light of the World,” was in process; and at their house he became acquainted with the young curate of St. Paul’s, Oxford; Venables by name. He was a man saintly in face and character; afterwards Bishop of the Bahamas, and long since dead. Whether he actually gave sittings to Hunt, or was avowedly the model for the Christ of the picture, does not appear, but those who knew Venables at the time insist upon the absolute faithfulness of the portraiture. This face it was which certain critics, unable to dissociate their conception of the Saviour from the conventional Raphaelesque type, condemned instantly as “the face of a Judas.” The picture was purchased by Mr. Combe, and subsequently presented by his widow to Keble College, Oxford, where it hangs to-day. Of the difficulties which attended the painting, and of the extraordinary labour bestowed upon it as it slowly grew beneath his hand in the little studio then at Chelsea, Mr. Hunt has given us his own significant record,—how, night after night, when the moon was in a favourable quarter, he would so dispose his curtains and draperies, easels and lamps, as to yield him the peculiar light for which he was striving, and at the same time to afford for curious observers an endless speculation as to the mysterious proceedings of the eccentric young artist within. “The Light of the World” is now perhaps the most familiar, to English eyes, of any Pre-Raphaelite pictures, unless we except the less esoteric “Hugenot” of Millais.

The “Hugenot,” indeed, would undoubtedly be taken by general estimate to point the high-water mark of Millais’s fame and genius, in spite of the splendour of the “ninth wave”—if one may push the metaphor so far—which issued ten years later in “The Eve of St. Agnes” and “The Enemy Sowing Tares.” The “Hugenot” appeared with “Ophelia” in 1852; Hunt’s “Light of the World” in 1854. And the “Hugenot” it was that first took unmistakable hold upon the public taste, and created a higher taste than it appealed to, carrying the emotion awakened with it on to higher planes than had yet been reached in English criticism. “The Order of Release,” in the following year, consummated the triumph of the young painter, and was enhanced in fame by Kingsley’s allusion to it in “Two Years Ago.” “The Proscribed Royalist” and the “Portrait of Ruskin” may be regarded as the last products of Millais’s rigidly Pre-Raphaelite period, which terminated, with Rossetti’s, about 1853. “The Rescue” and “The Random Shot,” or “L’Enfant du Regiment,” in 1855, “Sir Isumbras at the Ford: A Dream of the Past,” or “Knight Crossing a Ford,” in 1857, and “The Vale of Rest,” in 1858, are purely transitional works, while, with the notable exception of the two later masterpieces specified above, “The Black Brunswicker” of 1860, may be said to mark the final merging of the Pre-Raphaelite heretic into the popular Royal Academician. His formal election as R.A. took place in 1863. He was made, in 1883, a member of the Institute of France, and was, in 1885, the first English artist to be offered and to accept a baronetcy of the United Kingdom. He has also become a member of the Academies of Edinburgh, Antwerp, Rome and Madrid, and has been honoured at Oxford with the complimentary degree of D.C.L. His marriage in early life with Miss Euphemia Chalmers Gray was anticipated in one of the most pleasing of his female portraits in 1853.

Meanwhile the companion of his student days had entered upon a path of more obscure and arduous toil, in the pursuit of an ideal too exalted to endure compromise with any standards of the merely picturesque, or to lend itself readily to fluent and attractive expression. The work of Holman Hunt, among all the Pre-Raphaelite painters, has remained the most consistent and exclusive in its aims and methods, and the least affected by surrounding influences, either from his comrades or from the critical world. His artistic development has been the most faithful to its origins, and has presented the most unbroken continuity of thought and sentiment in its progress from the first “note of resistance and defiance” to the larger harmony of maturer years. The boundaries of his transition-period are more difficult to define than in the case of Millais and Rossetti; but, at the same time, the pictures that issued from his studio while Rossetti was dabbling in experimental water-colours, and Millais compromising brilliantly between original genius and the sweet laxities of fame, were of a passion and mastery which he never exceeded. Before the completion of “The Light of the World,” in 1854, Hunt had already painted “The Awakening Conscience” (1853), “Claudio and Isabella” (1851), “The Hireling Shepherd” (1852), and “The Strayed Sheep,” called also “Our English Coasts” (1853). He now departed to commence those long, solitary, and most fruitful sojourns in Jerusalem, Bethlehem, and less frequented parts of Palestine, which gave us, at the cost of years of intense and continuous labour, such great imaginative creations as “The Scapegoat” in 1855, “Christ in the Temple” in 1860, “The Shadow of Death” in 1874, and “The Triumph of the Innocents” in 1885. “The Shadow of Death” was purchased for £10,500; a price unparalleled for the work of any other living painter. The picture now hangs in the Manchester Corporation Gallery. Seven years were spent over “The Triumph of the Innocents,” pronounced by Ruskin to be “the greatest religious picture of the age.” The final version, completed in 1885, has recently been acquired by the Walker Art Gallery in Liverpool, where it completes, with Millais’s “Lorenzo and Isabella” and Rossetti’s “Dante’s Dream,” a noble trio of the best Pre-Raphaelite type. Reverting, as he did but once, to more purely romantic subjects, and to that haunting theme of Keats which first inspired the young Brotherhood, Mr. Holman Hunt produced in 1867 the finest of his work in that direction, in the brilliant “Isabella and the Pot of Basil,” which was the outcome of a visit to Florence in that year. His only important picture of later years has been the “May Morning on Magdalen Tower,” a fascinating reminiscence of Oxford life, exhibited in 1889.

Even more obscure and remote from the general routine of the modern studio, more independent of criticism or of patronage, was the earnest and thoughtful work of Madox Brown. In his case the early discipline of art study, and the isolation of unconventional ideals, had been courageously survived before he knew Rossetti, and his path already chosen on the heights of original thought. “He was,” says Mr. W.M. Rossetti, “distinctly an intellectual painter; intellectual on the side chiefly of human character. The predominant quality in all his works is a vigorous thinking out of the subject, especially as a matter of character, and of dramatic incident and expression thus resulting. This is the sort of intellect peculiarly demanded by pictorial art.”

It is noticeable also that the two senior members, if they may be so claimed, of the Pre-Raphaelite circle, though not of the actual Brotherhood—Ford Madox Brown and George Frederick Watts—were the only painters who brought into the movement any direct training from the continental schools. The latter, one year older than Madox Brown, was born in London in 1820, and succeeded in getting a picture into the Royal Academy as early as 1837. The prize of £300 gained in 1843 in the Westminster Hall Competitions enabled him to spend three years in Italy, after which, on his return, he won a prize of £500 in the same contest, with two more colossal frescoes of a similar kind.

Madox Brown, meanwhile, was entering upon the more uncompromising phase of reform. It was during his studies in Rome and Paris, when the Gothic traditions of Belgium had been strongly tempered by the Latin heritage of the south, that the Pre-Raphaelite idea began to shape itself in his mind, and to develop in him an original art which should create its own conditions and methods, yield a rich harvest of artistic if not of professional success, and exercise an immense power for good over the movement which his own single-handed battle with convention largely stimulated and inspired.

“Wicliff Reading his Translation of the Bible to John of Gaunt” was afterwards acknowledged by Madox Brown as his first distinctly Pre-Raphaelite picture; begun in 1845, and shortly followed by “Pretty Baa-Lambs”—the only other work which the artist claimed as being painted implicitly in the early Italian style. The latter was subjected to much derisive criticism in the press. Yet the later work of this unquestionably great painter, maintained as it was on his own rigidly independent lines, and never merging into the fervid neo-Romanticism of Rossetti, Millais, and Hunt, may justly be accepted, like theirs at its best, as a consistent and superb development, in a modern atmosphere and in the face of modern problems, of the principles followed by the Italian Pre-Raphaelites, and which as principles are adaptible in infinite variety to the fresh needs and new perplexities of successive generations of men.

In 1849 the work of Madox Brown appeared for the first time beside that of Rossetti. “Cordelia’s Portion,” a highly imaginative and nobly dramatic composition, was hung in the Free Exhibition at Hyde Park Corner, in company with Rossetti’s “Girlhood of Mary Virgin.” His next important picture, “Chaucer at the Court of Edward III.,” occupied the painter for several years, and was produced at the Royal Academy of 1851—the memorable season of Hunt’s “Valentine and Sylvia,” and Millais’s “Woodman’s Daughter.” The “Chaucer,” now in Australia, received the Liverpool Academy’s annual prize of £50 in 1852, and was selected by Government for the Paris Exhibition Loan Collection of English paintings in 1855.

The departure of his young friend Woolner for Australia in 1854 suggested to Madox Brown the subject of his most popular and in some respects his most successful picture, “The Last of England,” finished in 1855, and now exhibited in the Art Gallery of the Corporation of Birmingham. It was his visit to Gravesend, to bid farewell to Woolner as he embarked for the Antipodes, at the time when the emigration movement was at its height, that inspired the elder painter with that homely idyll of emigrant life—that masterpiece in the dramatic and emotional presentment of modern and familiar romance. In 1857 he painted his great symbolic picture “Work,” which has been pronounced “the finest Pre-Raphaelite picture in the world;” a verdict not without justification, but bordering on those facile abstractions of criticism wherein the sense of comparative excellence is apt to lose itself in the confusion of diverse methods in art. The picture now hangs with the masterpieces of Rossetti, Millais, and Holman Hunt, in the Walker Art Gallery at Liverpool. Among the many friends of that period who gave sittings to the artist for the principal figures were Frederick Denison Maurice and Thomas Carlyle.

Of the achievements of Madox Brown in the more obviously romantic and naturalistic fields, perhaps the best known is the intensely passionate and brilliant “Romeo and Juliet” parting at daybreak in the loggia to Juliet’s chamber. In the same category, though of various range and style, may be briefly mentioned “Waiting” (1855), a fine study of firelight and lamplight, which appeared in the Russell Place Pre-Raphaelite Exhibition of 1856, “The Death of Sir Tristram,” “King René’s Honeymoon,” the much earlier “Parisina and Manfred on Jungfrau,” and “The Dream of Sardanapalus,” a work of recent years. The romantic treatment of historical subjects is represented by the cartoons before mentioned, executed prior to 1848, and by such later compositions as “Cromwell Dictating to his Secretaries,” “Milton and Marvel,” and “Cromwell on his farm at St. Ives,” completed in 1873. Of his religious pictures perhaps the most familiar is the austerely beautiful “Entombment;” but it is not easy to excuse the discreditable oblivion permitted in this country to such paintings as “Jesus Washes Peter’s Feet,” “The Transfiguration,” “Our Lady of Good Children,” or “Elijah and the Widow’s Son;”—oblivion only too explicable by a single trait of national character: that the average Briton will accept any innovation of taste or doctrine that will allow him to take his pleasure with the least amount of intellectual disturbance, but he will never forgive the artist who calls upon him to think. Happily some worthier, though very far from adequate, recognition has been accorded to the almost colossal task of the painter’s later years—the great series of historical frescoes on the walls of the Town Hall, Manchester, commencing with the building of Manchester by the Romans, and bringing the history of the city pictorially down to the present day. Outliving many younger leaders of the Pre-Raphaelite movement, Madox Brown died on the 6th of October, 1893.

The artistic development of Madox Brown does not, then, offer any abrupt or marked transition from the first crude workings to the perfected application of the Pre-Raphaelite idea. This he pursued steadfastly, and with an unhasting diligence and quiet independence of spirit which indicates his kinship of temperament to Holman Hunt rather than to his impulsive and volatile pupil Rossetti, or to the impressionable Millais of early days. The complete outward divergence between the art of Madox Brown and that of Rossetti after, let us say, the “Triptych” for Llandaff Cathedral, painted by the latter in 1859–1860, illustrates not only the consistent progress of the former in his own distinctive line, but also the extraordinary fertility and cumulative splendour of Rossetti’s genius, which could create for itself during the next fifteen years so much more original and versatile a habit wherewith to clothe the noble and exquisite visions that thronged his imagination, each with the urgency of “a presence that is not to be put by.”

For the last twenty years of Rossetti’s artistic life he was known, and should be judged, supremely as a colourist; and from 1862 to 1874 his technical power reached its highest level. After completing in oils the “Triptych” for the Llandaff altar-piece, “The Infant Christ Adored by a Shepherd and a King,” Rossetti began to pursue more carefully, and with increasing success both from the æsthetic and the professional point of view, the system of half-length or three-quarter length female figure-studies, chiefly symbolic in motive, which he had already attempted brilliantly in the “Bocca Baciata” (“The Kissed Mouth”) of 1859, and which afterwards yielded such imaginative and technical triumphs as “Beata Beatrix” (1863), “The Blue Bower,” one of the most brilliant and sensuous of his paintings (1864); “Lady Lilith,” the type of purely physical loveliness, described in his sonnet “Body’s Beauty” (1864); “Il Ramoscello” (“The Branchlet”), or “Bellebuona” (“Fair and Good”), a gem of pearl-white colouring (1865); “Monna Vanna,” a superb study in white and gold (1866); “Venus Verticordia,” personifying again the earthly Pandemos, with the apple of temptation in her hand (1864–1877); “The Beloved, or the Bride of the Canticles;” and “Sibylla Palmifera” (“Beauty the Palm-giver”), both typifying intellectual and spiritual beauty (1866–1873); “The Loving Cup” (1867); “Aurelia,” or “Fazio’s Mistress” (Angiola of Verona, loved by Fazio degli Uberti, mentioned by Dante), another somewhat sensuous model (1863–1873); “La Pia,” the unhappy and captive wife of Nello della Pietra (from Dante’s “Purgatorio”), seen in her prison overlooking the Maremma (1868–1881); “Mariana,” from Shakespeare’s “Measure for Measure” (1869–1871); “Pandora opening her fatal casket” (1869–1875); “Proserpine,” empress of Hades, enchained to the nether world (1872); and “La Ghirlandata”—“The Garland Girl”—(1873). Into these splendid and highly finished studies of the mystic beauty of womanhood, Rossetti poured the full soul of his gospel of romantic love—the love of absolute Beauty absolutely worshipped to the utmost reaches of a consecrated sense,—“Soul’s Beauty” and “Body’s Beauty” now analyzed and set in contrast each with each, now reconciled and made at one in the last harmony of perfect life. And in these great creations—revelations rather, and perceptions of the inmost verities of things, Rossetti attains the consummation of imaginative art—the crowning of romanticism with the purged inheritance of the classic ideal. It has been claimed that romance treats of characters rather than types; prefers, as we have said, the particular to the universal; and that Rossetti’s women are but splendid models, lovely sitters brought by a happy chance into his path, and used by him as the illustrations of that individual beauty which appealed most strongly to his taste. But in these rich harvests of his technical maturity the very realism has discovered the ideal, and as in pure portraiture, the sincere essence of classicism is regained.

A peculiar pathos must for ever be associated with one of the first, and, in the judgment of many, the most beautiful, of these half-length oils, the exquisite “Beata Beatrix,” now in the National Gallery. It is the supreme pictorial record of that central tragedy of Rossetti’s life, even more intimately revealed to us in his verse, which set him at the side of Dante among mourning poets. On the 23rd of May, 1860, Rossetti married, at Hastings, the beautiful and gifted woman of whom his courtship had lasted nearly ten years. The wedding had been delayed again and again through the uncertain health of Miss Siddal and the precarious circumstances of the brilliant but wayward young painter’s life. It was now accomplished with every augury of long-anticipated joy. The honeymoon was spent in a brief tour through Belgium, concluding with a few days in Paris, where Rossetti made his little impromptu sketch—so entirely out of his wonted trend of themes—“Dr. Johnson and the Methodist Ladies at the Mitre;” a pen-and-ink drawing which he afterwards repeated in water-colours.

Thence to the old rooms in Chatham Place, Blackfriars, partially rebuilt and redecorated for the happy event, Rossetti brought home his bride. The face of the long-desired wife now haunts the painter’s easel more continually than before, and recurs with ever-varying charm in nearly all his sketches and the very few finished pictures of the next two years. To this period belong “Lucretia Borgia” (entirely distinct from the “Borgia” of 1851); “The Heart of the Night” (from Tennyson’s “Mariana in the South”); the beautiful “Regina Cordium”—“Queen of Hearts” (a title also used for other portraits at different dates); “Bethlehem Gate,” and the best of several subjects dealing with the legend of “St. George and the Princess Sabra,” together with “Monna Pomona” and “The Rose Garden” of 1864, “Sir Tristram and Iseult Drinking the Love Potion” (1867), “Washing Hands” (1865), and many replicas of the Dante pictures of the previous decade. And in the numerous rough and half-finished portrait sketches, nameless but unmistakable, of Rossetti’s “Queen of Hearts” during those two brief years, the shadow of the coming bereavement can be traced in the gradually sharpened features, the more and more fragile hands, the look of increasing pallor and weariness in the earnest face which rests, in one of the latest drawings, on the pillow all too suggestive of its habitual place. On the 2nd of May, 1861, Mrs. Rossetti gave birth to a still-born son. From the consequent illness she rallied considerably during the autumn of that year, and the immediate cause of her death in February, 1862, was, unhappily, an overdose of laudanum, self-administered after a day of fatigue, during the brief absence of her husband from the house. Of the circumstances of the fatal mischance, in so far as they can ever be gleaned from that calamitous hour, of the utterly unexpected shock awaiting Rossetti’s return, and of the grief-stricken apparition which aroused the household of Mr. Madox Brown on Highgate Hill at dead of night with incoherent news of the fatality, enough has already been written by those whose sad privilege it was to share in some measure with the overwhelmed sufferer the long pain of that supreme bereavement. The pathetic incident that added to the sadness of the burial, when the young widower hastily gathered up all his poetic manuscripts of the past ten years and laid them beside the fair face in the coffin, a symbol of that best part of himself which he felt must go also to that untimely grave, has become an oft-told tale; and may now be laid in the reverent silence of affection and regret. Nor can the agony and prostration of the succeeding months be fitly recorded save in his own chronicles of song—the great elegiac “Confessio Amantis” of the “House of Life” sonnets.

Recruiting at last in slow degrees his powers upon brush and canvas, he dedicated their first-fruits to the painting of that most beautiful and faithful memorial of the beloved dead—“Beata Beatrix,” the Blessed Beatrice—Dante’s Beatrice; for the immortal story loved in youth had now redoubled its hold upon his heart. The picture was commissioned by Lord Mount Temple, who was from this time one of Rossetti’s most generous patrons and intimate friends. It was begun at Mr. Madox Brown’s house, “The Hermitage,” on Highgate Hill, but finished at Stobhall, in Scotland, whither Mr. Brown and an equally devoted friend, Dr. John Marshall, had taken the painter in the hope of restoring his now shattered health and assuaging the sorrow that had occasioned its collapse. Rossetti afterwards said of the “Beata Beatrix” that no picture had ever cost him so much to paint, but that in no other task had he been conscious of so perfect a mastery of his instruments.

It should be remembered that of this picture, and indeed of several of Rossetti’s finest and best-known works, certain indifferent replicas exist which have been frequently mistaken for their originals. The “Beata Beatrix” in the Birmingham Art Gallery was only half painted by Rossetti, and finished by Madox Brown. Again in the case of “The Blessed Damozel” of a much later date, the more familiar version is the inferior one. There was also a smaller replica of “Dante’s Dream,” shown in London at the Guildhall Loan Exhibition of 1892. Moreover, it was Rossetti’s habit to execute most of his pictures in more than one medium; thus many of his early pen-and-ink drawings were presently reproduced in water-colour; the water-colour designs of 1852–1862 were afterwards transferred to oils; and most of the important oil-paintings of his maturity were duplicated in coloured chalk; some even passing through the pencil, ink, and water-colour stages also. Not infrequently it happened that the chalk version surpassed all the others, as, for instance, in the grand “Pandora” of 1878–79, the most powerful of all his drawings in that medium, and perhaps the greatest of his symbolic figures. Very often, too, he would begin a picture on a very small scale, and gradually enlarge it through successive stages to its final size, as in the case of “Monna Rosa,” concerning which he writes on the 18th of June, 1867, to his patron, Mr. F.R. Leyland, one of the most constant and sympathetic of his buyers and friends,—“The picture is much advanced and in every way much altered, as I have again had it considerably enlarged! To begin a fresco as a pocket-miniature seems to be my rule in Art.”

The domestic calamity of 1862 rendered a change of residence imperative to the young widower, left desolate amid surroundings charged to the utmost with poignant memories of the past. The old rooms in Chatham Place became unbearable to Rossetti, full as they were of associations of courtship as well as of married life. He sojourned for a time in chambers in Lincoln’s Inn Fields, and in the autumn of the same year he moved to No. 16, Cheyne Walk, Chelsea, where he lived intermittently up to the time of his death. It was a fine old house, well suited to be an artist’s abode; and especially fortunate in a large garden, which became a valuable resource to Rossetti in those sad days in store for him when any emergence from the seclusion of home grew more and more distasteful to his mind.

By the end of October Rossetti seems to have been established in his new dwelling, which thenceforth it was his pleasure to adorn with all the quaint old curios he could lay his hands on. In the natural revulsion of overwrought feeling, he threw himself upon decorative hobbies of many kinds; developed a passion for blue china and antique pottery; cultivated oriental textures and old oak; and haunted second-hand furniture warehouses with the pertinacious enthusiasm of the devout lover of a bargain. His shelves groaned under their picturesque load of reliquary wares and studio-properties gathered from every age and clime. Here, too, flourished a whole colony of curious animals, such as he delighted to indulge with unbridled license in his domains,—to the produce of countless anecdotes of their pranks, and of the embarrassment of their victims.

The house was shared for some time with three brother-poets,—Swinburne, George Meredith, and W.M. Rossetti. The last-named was for a considerable period a constant inmate; the others, less domesticated, and of strong peculiarities (as is the way of genius) of habit and of taste, presently departed, and their places knew them only as visitors to the brilliant haunt of many other literary celebrities of the day. It has been observed that the most intimate friends of Rossetti’s later years were drawn from the ranks of literature rather than art,—a circumstance which need not, however, be too closely paralleled with his own frequent and increasingly successful reversions to the poetic field. It must be remembered that the Pre-Raphaelite movement presents a combination of the highest poetry with the highest pictorial and decorative art incomparable with anything since the days of Michaelangelo. It was natural that the poetic wing of Pre-Raphaelitism, so to speak, should attach itself more and more firmly to the great group of independent and specialistic poets of the age, of whom no counterparts in original genius are to be found outside Pre-Raphaelitism in modern English art. As early as 1855 we find Rossetti well acquainted with Tennyson and in close friendship with Browning and Mrs. Browning; afterwards with William Morris, several of whose poems were inspired by Rossetti’s pictures; whose first volume, “The Defense of Guenevere,” was dedicated “To my Friend Dante Gabriel Rossetti, Painter,” in 1858; and whom Rossetti pronounced to be “the greatest literary identity of our time;” then with Swinburne, whom he placed “highest in inexhaustible splendour of execution,” and whose first-fruits in the tragic drama, “The Queen Mother,” in 1860, were similarly inscribed; and later still with Philip Bourke Marston, the blind poet; with George Meredith, Edmund Gosse, John Payne, and many others of the choicest if not the most popular qualities of song. From among the earliest of those memorable friendships there is preserved to us a fascinating record of one autumn evening, typical of many more, when the Rossettis and the Brownings assembled together to listen to Tennyson as he read from manuscript his latest poem;—it is the now familiar pen-and-ink sketch of “Tennyson Reading Maud;” one of those marvellously vigorous and convincing thumb-nail drawings which it was Rossetti’s wont to evolve, in his inimitable method, from the initial focus of a single blot.

In 1865 we find Rossetti writing to the “Athenæum” to correct a statement which seems to have been made to the effect that he, known chiefly as a water-colour painter, was now attempting a return to oils. The artist protested that he was then, and always had been, an oil-painter; and indeed, as we have seen, he was just now at his zenith of power in that medium, though the contrary impression made on the public is easily explicable in the light of his water-colour work of the previous decade, and of the Russell Place Exhibition of 1856.

By this time the irreparable loss of the one loved model of his early prime was in some degree mitigated, from the artistic side, by the good fortune which secured for him henceforward some of the most beautiful sitters known to the artistic world of the day; women of high culture and distinction, who added to their willing service in the studio the grace of personal friendship and, in several instances, of patronage of the most sympathetic kind. The austere and robust beauty of Miss Herbert, the accomplished actress to whom he was introduced in 1859, lay, as has been already said, entirely apart from his most cherished ideals, and seldom appears in his symbolic paintings. But Mrs. Aldham Heaton, a frequent and valued purchaser, and a lady of presence more congruous with his favourite type, sat for what appears to have been a second “Regina Cordium” in 1861; while in 1864 was commenced his long and most artistically fruitful acquaintance with Miss Wilding, the beautiful girl who served as the model for “Sybilla Palmifera,” “La Ghirlandata,” “Dis Manibus,” “Veronica Veronese,” “The Sea-Spell,” and several others of his most delicate and spiritual faces, including a third “Regina Cordium” in 1866. Miss Spartali, afterwards Mrs. Stillman, was also a favourite model for some years, and sat for “Fiametta” (distinct from “A Vision of Fiametta” in 1878), and for the lady on the right of the funeral couch in “Dante’s Dream,”—a work which remained on hand throughout this period.

Apart from the models of his principal pictures, Rossetti painted at different times a goodly number of female portraits, commencing the list of sitters with his mother and younger sister (the elder died at a somewhat early age), and including Lady Mount Temple, who became, with her husband, one of the few intimate friends of his seclusion in later years, Miss Alice Boyd, the kindly hostess of some of his happiest visits to Scotland, yet to be recorded, Mrs. William Morris and her daughters—among them Miss May Morris, now Mrs. Halliday Sparling, who also appears in the “Rosa Triplex” of 1869 and 1874, Mrs. Burne-Jones, Mrs. Dalrymple, Mrs. H.T. Wells, Mrs. Leathart, Mrs. Lushington, Mrs. Virtue Tebbs, Mrs. C. A. Howell, Mrs. Coronio, Miss Heaton, Miss Williams, Miss Kingdon, the Misses Cassavetti, Miss Baring, and Mrs. Banks.

Twice during these years of the gradual maturing of his technical power in oils did Rossetti make excursions into a distinctive branch of decorative art, the practice of designing for stained-glass. As early as 1860, William Morris, Burne-Jones, and a few others interested in this much-neglected craft established a firm which was known for some time under the name of Morris and Co., and for which in 1861 Rossetti executed a series of seven effective cartoons for church windows illustrating the “Parable of the Vineyard,” or the “Wicked Husbandmen.” Both designs are of extraordinary vigour and dramatic intensity; strongly mediæval in directness and simplicity, but with a large coherence and fulness of conception, and a harmonious richness of workmanship breathing a more modern spirit into the ancient tale. The dignity and earnestness of the drawing places it on a level with the best work of his purely romantic period, but its technical finish shows the more perfect balance between conception and execution which he was rapidly attaining in his maturity. The designs are now to be seen in the church of St. Martin on the Hill, Scarborough.

A similar work was undertaken by Rossetti six years later, when it was proposed to dedicate a memorial window to his aunt, Miss Margaret Polidori, in Christchurch, Albany Street, Regent’s Park, where she had long been a regular attendant until her death in 1867. Rossetti chose for his subject “The Sermon on the Plain.” This design also was executed in stained-glass by the firm of Morris and Co., and placed in the church in 1869.

By this time Rossetti’s commissions for pictures had happily become so numerous as to justify his seeking competent assistance in his studio. His friend Mr. Knewstub, at first a pupil, filled for some time the office of assistant. Then Mr. Henry Treffry Dunn was engaged in 1867, and remained with Rossetti almost up to the date of his death. It seems to have been in the years 1867–68 that his health, never fully re-established after the physical and mental prostration of 1862, began to give way beneath that most terrible and relentless of nervous maladies, the special curse of the artistic temperament—insomnia. To that slow and baffling torment, by which Nature sometimes seems to be avenging herself in a sort of frenzied jealousy upon her own handiwork, Rossetti’s highly wrought sensibilities and overwhelming imagination made him the more easy prey. His whole being was constitutionally endowed with that fatal faculty of visualizing the invisible, of suffering more acutely under imagined than under realized pains (though both were laid upon him) which, like an all-consuming fire, burns itself out only with the life that feeds it. Of such sleepless nights as thus become the terror of their victims, haunted with all memories and all fears, Rossetti has left us many a painfully vivid word-picture in his poetry; supremely, perhaps, in that most tragic sonnet, “Sleepless Dreams”—