Our English Coasts, 1852 (“Strayed Sheep”).
Plain of Esdraelon from the Heights above Nazareth.
Rienzi Vowing to Obtain Justice for the Death of his Young Brother, Slain in a Skirmish between the Colonna and the Orsini Factions.
The Scapegoat.
The Shadow of Death.
The Triumph of the Innocents.
Two Gentlemen of Verona, Valentine Rescuing Sylvia from Proteus.
L
Leighton, Edmund Blair
The Accolade.
M
Meteyard, Sidney Harold
“I am half-sick of shadows”, said the Lady of Shalott.
Millais, John Everett
Autumn Leaves.
The Blind Girl.
The Bridesmaid.
Christ in the House of his Parents, (“The Carpenter’s Shop”).
A Dream of the Past: Sir Isumbras at the Ford.
Ferdinand Lured by Ariel.
The Huguenot.
Lorenzo and Isabella.
Mariana.
Mrs. James Wyatt Jr. and her Daughter, Sarah.
Ophelia.
The Order of Release 1746.
Portrait of John Ruskin.
The Return of the Dove to the Ark.
William Holman Hunt.
The Woodsman’s Daughter.
Morgan, Evelyn de
Hope in the Prison of Despair.
Morris, William
La Belle Iseult.
The Works of Geoffrey Chaucer.
Morris, William and John Henry Dearle (design) and Morris, Marshall, Faulkner & Co. (production)
The Orchard, or The Seasons.
Paton, Joseph Noel
The Bluidie Tryst.
Rossetti, Dante Gabriel
Beata Beatrix.
Beatrix Meeting Dante at a Wedding Feast, Denies him her Salutation.
Before the Battle, 1858, retouched in 1862.
The Bower Meadow, 1850-1872.
Dante’s Vision of Rachel and Leah.
Dantis Amor.
Ecce Ancilla Domini! (The Annunciation).
The First Anniversary of the Death of Beatrix (Dante Drawing an Angel).
Ford Madox Brown.
Found.
The Girlhood of Mary Virgin.
Horatio Discovering the Madness of Ophelia.
How Sir Galahad, Sir Bors and Sir Percival Were Fed with the Sanct Grael; but Sir Percival’s Sister Died by the Way.
Mariana.
Mnemosyne.
Paolo and Francesca.
Proserpine.
Sir Galahad at the Ruined Chapel.
The Tune of the Seven Towers.
Venus Verticordia.
The Wedding of St. George and Princess Sabra.
Sandys, Frederick
Morgan-Le-Fay.
Seddon, Thomas B.
Jerusalem and the Valley of Jehoshaphat from the Hill of Evil Counsel.
Strudwick, John Melhuish
The Gentle Music of a Bygone Day.
Isabelle and the Pot of Basil.
Waterhouse, John William
La Belle Dame Sans Merci.
Hylas and the Nymphs.
The Lady of Shalott.
The Lady of Shalott.
A Naiad (Hylas and a Water-Nymph).
Ophelia, undated.
Watts, George Frederick
Love and Death.
Notes
[1] At the Tate Gallery, No 1110. The Spiritual Form of Pitt Guiding Behemoth.
[2] Ford Madox Brown, born in 1821, died in 1893. Dante Gabriel Rossetti, born in 1828, died in 1882. Edward Burne Jones, born in 1833, died in 1898.
[3] Harry Quilter M.A. Ford Madox Brown, the teacher of Dante Gabriel Rossetti and Holman Hunt. — See also: Ford Madox Brown, Of the Mechanism of a Historical Picture.
[4] William Bell Scott, Autobiographical Notes, vol. I, London, 1892.
[5] See the entire scene in William Bell Scott. Autobiographical Notes, vol. 1. On Rossetti, read: Joseph Knight, Life of Dante-Gabriel Rossetti, London, 1887, William Sharp, Dante-Gabriel Rossetti, a Record and a Study. London, 1882, Esther Wood, Dante-Gabriel Rossetti and the Pre-Raphaelite movement. London, 1894, W. Holman Hunt, The Pre-Raphaelite Brotherhood in the Contemporary Review, May, June, and July, 1886 and in the Chambers Encyclopedia, F. Q. Stephens, P.R.B., Dante-Gabriel Rossetti, in Portfolio of May 1894, Harry Quilter, Preferences in Art, London, 1892, Myers, Essays Modern, London, 1883, William Michael Rossetti, Ruskin, Rossetti, Pre-Raphaelitism - papers, 1854 to 1862. London, 1899, Edouard Rood, Rossetti et les Préraphaélites anglais.
[6] See Redgrave, A Century of Painters of the English School.
[7] John Ruskin, Modern Painters, vol. II, ch. III, § 18. Necessity of finishing Works of Art perfectly.
[8] John Ruskin, Modern Painters, vol. I, ch. V, § 9. The Imperative Necessity, in Landscape Painting, of Fullness and Finish.
[9] John Ruskin. Modern Painters, vol. II, ch III, § 21. The Duty and After Privileges of all Students, 1843.
[10] Ruskin’s works were handled by a special publisher, Mr. George Alleu of London, who had them printed far from unaesthetic factories in the middle of fields filled with flowers and fruit. It is even said that these precious books were shipped to London without using the railway, so that unaesthetic steam engines would play no part in their distribution. On Ruskin, cf Ruskin et la Religion de la Beauté (Hachette) and The Life and Work of John Ruskin, by W. G. Collingwood.
To give some idea of the enormous popularity of these very costly works, in 1886 alone 2,122 copies of Sesame and Lilies were sold, as well as 1,273 of Frondes Agrestes, 93 of the large illustrated edition of The Stones of Venice, etc., without counting the “pirated” American editions that true Ruskinians forbid themselves to read, preferring that if they cannot afford the expense of the original volumes they should remain ignorant of the words of the master rather than hear them in this vulgar and tainted form.
[11] On the fashion in which Rossetti recruited Woolner, it is interesting to read this comment from Harry Quilter: “It is possible that Woolner was never a Pre-Raphaelite by choice, because we found out that it was Rossetti who had claimed him as his own, because of the principles according to which he had written (according to Rossetti) My Beautiful Lady. It seems that this poem was not written according to any principles, and that Rossetti, as he was looking for converts, had decided while admiring the poem that his appreciation could only have come from the fact that these verses were Pre-Raphaelite. Preferences in Art.
[12] Nearly every year in London there was an exhibition in the Guildhall of already famous works by great contemporary artists. These works were borrowed from individuals or museums.
[13] This painting, in the Tate Gallery, entitled Ecce Ancilla Domini, is in some ways a good example of Pre-Raphaelitism. One of the principles of this school was given by Ruskin: “Take things as they probably happened, and not according to the rules of art developed under Raphael.” If we look at this Annunciation, considering that it was painted in 1850, we see that it constituted a revolution in the direction of simplicity and humility, and to a certain degree realism in religious painting. Ruskin asks us to compare “this Virgin waking from her sleep on a pallet bed, in a plain room, startled by sudden words and ghostly presence which she does not comprehend, and casting in her mind what manner of Salutation this should be,” with the Madonnas of the Old Masters, “dressed in scrupulously folded and exquisitely falling robes of blue, with edges embroidered in gold (see, for example, in Room III of the National Gallery, The Annunciation by Filippo Lippi), sitting under exquisitest architecture, receiving the angel’s message with their hands folded on their breasts in the most graceful positions, and the missals that they had been previously studying laid open on their knees… Rossetti’s Annunciation differs from every previous conception of the scene known to me, in representing the angel as waking the Virgin from sleep to give her his message. The Messenger himself also differs from the angels as they were commonly represented, in not depending, for recognition of his supernatural character, on the insertion of bird’s wings at his shoulders. If we are to know him for an angel at all, it must be by his face, which is that simply of youthful, but grave, manhood. He is neither transparent in body, luminous in presence, nor auriferous in apparel; wears a plain, long, white robe, casts a natural and undiminished shadow, and although there are flames beneath his feet, which upbear him, so that he does not touch the earth, these are unseen by the Virgin… Mr Rossetti, in this and his subsequent works of the kind, thought it better for himself and his public to make some effort toward a real notion of what actually did happen in the carpenter’s cottage at Nazareth, than merely to produce a variety in the pattern of Virgin, pattern of Virgin’s gown, and pattern of Virgin’s house, which had been set by the jewellers of the fifteenth century.” The Three Colours of Pre-Raphaelitism and The Art of England, cited and analysed in the excellent Handbook to the Tate Gallery, by Edward T. Cook.