See also:

• DANTE

DANTE See also:

• GABRIEL (Heb. SKns, man of God)

GABRIEL See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• DANTE GABRIEL ROSSETTI (1828-1882)

ROSSETTI (1828-1882)  , See also:

• ENGLISH

English poet and painter, whose full baptismal name was See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• DANTE

Dante, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 12th of May 1828, at 38 See also:

• CHARLOTTE

Charlotte See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, See also:

• PORTLAND
• PORTLAND, EARL OF
• PORTLAND, ISLE OF
• PORTLAND, WILLIAM BENTINCK, EARL
• PORTLAND, WILLIAM HENRY CAVENDISH BENTINCK

Portland See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

Place, See also:

• LONDON

London . He was the first of the two sons and the second of the four See also:

• CHILDREN, LAW RELATING TO

children of Gabriele See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti (1783-18J4), an See also:

• ITALIAN

Italian poet and liberal, who, about 1824, after many vicissitudes connected with the See also:

• PART

part he played in the See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples reform See also:

• MOVEMENT

movement against See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand I., came to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, where he married in 1826 Frances See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Polidori (d . 1886), See also:

• SISTER

sister of See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron's physician, Dr See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Polidori, and daughter of a Tuscan, Gaetano Polidori, who had in See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early youth been See also:

• ALFIERI, VITTORIO, COUNT (1749-1803)

Alfieri's secretary and who had married an English See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady . In 1831 he became See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of Italian in See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's See also:

• COLLEGE (Collegium)

College, London, and afterwards achieved a recognized position as a subtle and See also:

• ORIGINAL

original, if See also:

• ECCENTRIC (from Gr. F,c, out of, and Kivrpov, centre)

eccentric, commentator on Dante . In 1852 he published a See also:

• VOLUME

volume of Italian religious poems . His See also:

• FAMILY

family, besides Dante Gabriel, consisted of Maria Francesca (1827-1876), who eventually entered an See also:

• ANGLICAN

Anglican sisterhood—she is known to Dante scholars by her valuable See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

Shadow of Dante; See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael (b . 1829), a well-known See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of letters who from 1845 to 1894 was in the Inland See also:

• REVENUE
• REVENUE (0. Fr. revenu, from revenir, to return)

Revenue See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

Office—he married a daughter of See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford Madox See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

Brown; and See also:

• CHRISTINA (1626–1689)
• CHRISTINA [MARIA CHRISTINA HENRIETTA DESIREE FELICITE RENIERE]

Christina (q.v.), the poet . The See also:

• LITERARY

literary spirit was strongly entrenched here; and the See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent which was always distinguished in William Michael See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to the height of rare See also:

• GENIUS (from Lat. genere, gignere)

genius in Dante Gabriel and Christina . Dante Rossetti's See also:

• EDUCATION

education was begun at a private school in See also:

• FOLEY, JOHN HENRY (1818-1874)
• FOLEY, SIR THOMAS (1757-1833)

Foley Street, Portland Place, where he remained, however, only nine months, from the autumn of 1835 to the summer of 1836 . He next went (in the autumn of 1836) to King's College School, where he remained till the summer of 1843, having reached the See also:

• FOURTH

fourth class . From early childhood he had displayed a marked propensity for See also:

• DRAWING

drawing and See also:

• PAINTING

painting . It had there-fore from the first been tacitly assumed that his future career would be an See also:

• ARTISTIC

artistic one, and he See also:

• LEFT

left school early .

In Latin, however, he was already fairly proficient for his See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age; See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French he knew well; Italian he had spoken from childhood, and he had some See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German lessons about 1844-45 . But, although he learned enough German to be able to translate the Arnie Heinrich of See also:

• HARTMANN, KARL ROBERT EDUARD VON (1842–1906)
• HARTMANN, MORITZ (1821–1872)

Hartmann von Aue, and some portions of the See also:

• NIBELUNGENLIED, or DER NIBELUNGE NOT

Nibelungenlied, he afterwards forgot the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language almost entirely . His See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek too, such as it had been, he lost . On leaving school he went (1843) to See also:

• CARY, ALICE (1820-1871)
• CARY, ANNIE LOUISE (1842- )
• CARY, HENRY FRANCIS (1772-1844)

Cary's See also:

• ART

Art See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy (previously called Sass's), near See also:

• BEDFORD

Bedford Square, and thence obtained See also:

• ADMISSION

admission to the Royal Academy See also:

• ANTIQUE (Lat. antiquus, old)

Antique School towards 1846 . Of the artistic education of See also:

• FOREIGN

foreign travel Rossetti had very little . But in early See also:

• LIFE

life he made a See also:

• SHORT, FRANCIS JOB (1857– )

short tour in See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, where he was indubitably much impressed and influenced by the See also:

• WORKS

works of See also:

• VAN

Van See also:

• EYCK, VAN

Eyck at See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent and Memling at See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges . [It may be convenient to interpolate here a continuous See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of Rossetti's career as a pictorial artist . Being much impressed by some of the early works of Ford Madox Brown exhibited at the Academy (1841), See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall (1844–45) and the See also:

• BRITISH

British Institution (1845), he sought from that See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of technique technical instruction of a more See also:

• DIRECT

direct and stringent See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind than he had previously submitted to . Brown, ever generous in that way, undertook without a See also:

• FEE

fee the training of Rossetti as a painter, and set him to See also:

• WORK

work upon such rudimentary studies as See also:

• PICKLE

pickle-pots and other " still-life." The See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil's course of such work was, as might be expected, short; the master's example and that of See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, together with the uncompromising See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of See also:

• HOLMAN, JAMES (1786–1857)

Holman See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt, with both of whom Rossetti became intimate about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, helping and encouraging him . Most of all, perhaps, so far as his temporary impressions were concerned, a picture of Brown's which was shown at the " See also:

• FREE

Free See also:

• EXHIBITION

Exhibition," See also:

• HYDE
• HYDE, THOMAS (1636-1703)

Hyde See also:

• PARK (Fr. part; Ital. parco; Sp. Marque; O.Eng. pearroc; connected with Ger. pferch, fold, and pfarrei, district, translating med. Lat. parochia, parish)
• PARK, EDWARDS AMASA (1808–1900)
• PARK, MUNGO (1771-1806?)

Park Corner, in the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1848 profoundly affected Rossetti . This was, of course, months before the formation of the Pre-Raphaelite Brotherhood in the autumn of the last-named See also:

• YEAR

year, when five painter-students, a sculptor (See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• WOOLNER, THOMAS (1825-1892)

Woolner) and a layman (W . M .

Rossetti) agreed upon certain principles they desired should obtain in art . None of the five owed the initiative of his views to any of the others or to Brown, whose impulse was purely technical and connected with Rossetti only; neither Millais, Holman Hunt, J . Collinson nor F . G . See also:

• STEPHENS, ALEXANDER HAMILTON (1812-1883)
• STEPHENS, JOHN LLOYD (1805–1852)

Stephens needed the help of Madox Brown . The point of Pre-Raphaelite See also:

• CRYSTALLIZATION

crystallization which had so See also:

• GREAT

great though brief an See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon Rossetti's life and art was found at a See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting of Rossetti, Millais and Holman Hunt in Millais's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house in See also:

• GOWER
• GOWER, JOHN (d. 1408)

Gower Street, where certain prints from early Italian frescoes were studied . The See also:

• ENTHUSIASM

enthusiasm of Rossetti led him to propose the formation of a " See also:

• BROTHER

Brother-See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

hood " with more or less definite views and much loftier aims than artists generally venture to announce . This took effect; the views of the remaining three men were already known, and in a few days they joined the new society and took their shares in the obloquy which attended the doings of Millais, Hunt and Collinson . Brown, though invited, declined to become a P-R.B . Rossetti's first effort was by means of " The Girlhood of Mary, Virgin," which in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1849 was exhibited at Hyde Park Corner . It was a picture which attested the prodigious value of his studies since the previous See also:

• OCTOBER

October, and the native genius of the painter and the sincere See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion with which he had accepted the obligations of Pre-Raphaelitism, as they were then, but not for See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, understood . Nothing of his producing was more See also:

• INDEPENDENT

independent than the inception of " The Girlhood of Mary, Virgin "; indeed the See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design for it was made some See also:

• HALF

half a year before the meeting in Gower Street, though the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of this work owed not a little to the influence, if not the actual help, of Millais and Hunt .

Its See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism was Rossetti's own, its technique owed something to Brown . On the whole, there can be no doubt that in this work was the first pronouncement of a new view of art, a fresh technique and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power rapidly developing itself . Of course, the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of this noteworthy and See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch-marking picture was jejune, its handling was timid, while its coloration and tonality were dry, not to say thin . Such was Rossetti's See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent in art under the Pre-Raphaelite banner . The picture's reception was not encouraging, nor did the next work from his hands induce him to emerge from that proud exclusiveness in which all such minds as his are content to abide . The diverse moods of the other See also:

• BROTHERS, RICHARD (1757-1824)

Brothers See also:

• CHOSE (Fr. for " thing ")

chose otherwise, but of Rossetti's immediate circle it has been truly said: " It appears that of seven See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young men and Brethren five have attained eminent positions, four of them being pre-eminent, although for years after the society was formed no single member, whatever his position might be, escaped insult, obloquy and wicked and malicious misrepresentation . The more conspicuous the Brother [e.g . Millais], the more outrageously was he attacked . " No estimate of Rossetti's genius, his See also:

• TRIUMPH (triumphus)

triumph and his life as a whole can be justly based without ample See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance being made for. the circumstances which attended his advent as a painter . " Ecce Ancilla Domini!" the smaller picture which is now in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of British Art at Millbank, was the one perfect outcome of the original See also:

• MOTIVE (from Lat. movere, to move)

motive of the Pre-Raphaelite Brotherhood by its representative and typical member . It is replete with the mystical See also:

• MOOD

mood which then ruled the painter's mind; that mood chose what may be called See also:

• VIRGINAL, or PAIR OF VIRGINALS

virginal See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white and its harmonies as its aptest coloration, and the intense See also:

• LIGHT

light of See also:

• MORNING

morning sufficed for its tonality . It was exhibited at the Portland Gallery in 185o .

After these pictures were finished, the outside See also:

• WORLD

world saw no more of Rossetti as a painter until it had prepared itself to see See also:

• MODERN

modern art from a higher See also:

• PLANE

plane than before . In See also:

• DECEMBER (Lat. decent, ten)

December 185o there appeared the first number of The Germ, a See also:

• MAGAZINE

magazine (which lasted for only four See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers) in which Rossetti had a leading place as the poet in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse and See also:

• PROSE

prose . The influence of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• BROWNING, ELIZABETH BARRETT (z8o6-r861)
• BROWNING, OSCAR (1837- )
• BROWNING, ROBERT (1812-1889)

Browning upon Rossetti was more potent in The Germ than in that splendid See also:

• ROMANCE

romance in See also:

• WATER

water-See also:

• COLOURS, MILITARY

colours called " The Laboratory," where a See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court lady of the ancien regime visits an old See also:

• POISON

poison-monger to obtain from him a fatal potion for her See also:

• RIVAL

rival in love . This wonderful See also:

• GEM (Lat. gemma, a bud,—from the root gen, meaning " to produce,"—or precious stone; in the latter sense the Greek term is > d>os)
• GEM, ARTIFICIAL

gem of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, glowing in lurid and wicked passion and voluptuous See also:

• SUGGESTION

suggestion, marked the opening of the artist's second See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period and signalized his departure from that phase of Pre-Raphaelitism of which " Ecce Ancilla Domini ! " was the crowning achievement, and, so far as he was concerned, the artistic ne plus ultra . Millais and the other Brothers remained faithful during several years yet to come . Later in 1850, Rossetti produced the original, which is in See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink, of the famous "Hesterna See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa," a gambling See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of men and their mistresses in a See also:

• TENT

tent by lamplight, while pallid See also:

• DAWN (the 16th-century form of the earlier " Jawing " or " dawning," from an old verb " daw," O. Eng. dagian, to become day; cf. Dutch dagen, and Ger. tagen)

dawn gathers force between the trees without . Then came from his hands " See also:

• BORGIA, CESARE
• BORGIA, FRANCIS (1510-1572)
• BORGIA, LUCREZIA (1480-1519)

Borgia," which, like " The Laboratory," is in water-colours, and, like " Hesterna Rosa," is a sardonic tragedy . " How they met Themselves " came next, and, in illustrating a See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend similar to that of the Doppelganger, affirmed the force, the originality and the tragic passion of Rossetti's genius . Two lovers are walking in a -See also:

• TWILIGHT

twilight See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, where they are confronted suddenly by their See also:

• APPARITIONS

apparitions, portending See also:

• DEATH

death . The year 1852 produced " See also:

• GIOTTO

Giotto painting Dante's Portrait," and saw a new development of the painter's mind and mood, dashed with a See also:

• HUMOUR (Latin humor)

humour not often to be seen in him . In its somewhat dry coloration it differed from the ardent See also:

• JEWEL, JOHN (1522-1571)

jewel-like glow and deeper gloom of " Borgia " and its successor and the sumptuous visions of womanhood in later pictures .

" Found," Rossetti's See also:

• SOLE (Solea)

sole contribution of the sort which Mr Holman Hunt affected, was begun somewhere about this period; but this piece of pictorial moralizing (the analogue of the poet's own " Jenny "), vigorous and intensely pathetic as it is, was never really finished by its author, being, indeed, far remote from Rossetti's inner self, which was rather over-scornful of didactic art, and thoroughly indisposed towards attempts to ameliorate anybody's See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition by means of pictures . Nor did the stringency of naturalistic painting suit his mood or his experience . Nevertheless, what is his in the existing picture remains a masterpiece of See also:

• POETRY

poetry with exquisitely finished parts . Passing a few See also:

• FINE

fine but comparatively unimportant drawings,such as " See also:

• LANCELOT (Lancelot du Lac, or Lancelot of the Lake)

Lancelot and Guinevere at the See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

Tomb of See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur," " Lancelot looking at the Dead Lady of Shalott," " See also:

• MARIANA, JUAN DE (1536-1624)

Mariana of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South," " See also:

• SIR

Sir Galahad," " The See also:

• BLUE (common in different forms to most European languages)

Blue Closet," and various works owing subjects to the Arthurian See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of romances, we may See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note that the artist illustrated by five cuts Poems by See also:

• ALFRED

Alfred See also:

• TENNYSON, ALFRED TENNYSON

Tennyson, on which Millais and Mr 'Holman Hunt were also engaged, and which was published by See also:

• MOXON, EDWARD (18o1-1858)

Moxon in 1857 . As in "Ecce Ancilla Domini!" we had virginal white and morning light employed to strengthen the mystical significance of the design, so in " Borgia " Venetian voluptuousness and sensuous splendours obtained, and in " The Blue Closet " is a very potent and suggestive exercise intended to symbolize the association of colour with See also:

• MUSIC

music . The last is one of the subtlest of the artist's "inventions," and it shows how he had See also:

• DEVELOPED

developed upon " Borgia " an artistic sympathy which is but too likely to be " See also:

• CAVIARE, or CAVIAR

caviare to the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general." " The See also:

• WEDDING

Wedding of St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George " is not so fine; nor was " Lancelot's See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream of the Sangreal," Rossetti's part in the luckless decorations of the See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

Union' (1857—58); nor are " Guinevere and Sir Lancelot," " Galahad in the See also:

• CHAPEL

Chapel " and other Arthurian examples quite worthy of his art . " Bocca Baciata," the super-sensuous portrait of a woman, a work of wonderful See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire, and the pictures on the See also:

• PULPIT (from Lat. pulpitum, a staging, platform: equivalents are Fr. chaire d'eglise, Ital. pulpito, Ger. Kanzel)

pulpit at See also:

• LLANDAFF

Llandaff See also:

• CATHEDRAL

Cathedral, marked the expiration of the second epoch in Rossetti's art and the beginning of a new, the third, last and most powerful of all the phases of his career . The picture " Dr See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson at the See also:

• MITRE (Lat. mitra, from Gr. j4rpa, a band, head-band, head-dress)

Mitre," when the " See also:

• PRETTY

pretty See also:

• FOOLS, FEAST OF (Lat. festum stultorum, fatuorum, follorum, Fr. fete des fous)

fools " consulted the lexicographer anent See also:

• METHODISM

Methodism, is a See also:

• GOOD, JOHN MASON (1764-1827)

good example of his humour . In 1861 Rossetti produced several fine designs for stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass, and in the revival of stained-glass painting as an art he had a larger See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share than has frequently been ascribed to him . The practice of designing upon a large See also:

• SCALE
• SCALE (1) A

scale, and employment of masses of splendid though deep-toned colours, had probably something to do with the prodigious development of his See also:

• POWERS, HIRAM (1805-1873)

powers and the enlargement of his views as regards painting which took effect at this period (1862—63) . At this time a striking and highly imaginative See also:

• TRIPTYCH (Gr. rpiary os, three-fold, made in three layers, TpL-, rpeis, three; arux1, a fold; 7rr(uoELv, to fold, double over)

triptych, representing three events in the careers of See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo and Francesca, was produced; it is a great improvement upon an earlier design . There is unprecedented energy in the See also:

• GROUP

group of the lovers embracing in the See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden-house just as they have paused in See also:

• READING

reading the fatal romance .

The See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of this group, with the circular window behind their figures, is as fine as it was comparatively novel in Rossetti's. practice . Its lurid coloration was so thoroughly in See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony with the pathos of the subject that in this respect the work excelled all the painter had previously produced . The same elements, energy, a sympathetic and poetic See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of colour, and composition of a fine See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, combined with far greater force and originality in " The See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride," or " The Beloved," that magnificent See also:

• ILLUSTRATION

illustration of The See also:

• SONG

Song of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon . The last named is a life-See also:

• SIZE

size group of powerfully coloured and diversely beautiful damsels accompanying their See also:

• MISTRESS

mistress with music and with song on her way to the bridegroom . This picture, as regards its brilliance, finish, the charms of four lovely faces and the splendour of its See also:

• LIGHTING

lighting, occupies a great place in the highest grade of modern art of all the world . It is likewise, so far as the qualities named are concerned, the crowning piece of Rossetti's art, and stands for him much as the " Sacred and Profane Love " of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian represents that master . Very fine, indeed, but hardly so passionate and virile, is the " Beata Beatrix," now in the National Gallery of British Art with " Ecce Ancilla Domini I" which he produced thirteen years earlier . These works belong to a See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category of fine and quite original examples, all replete with In 1857, Rossetti, when in Oxford with William See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris, conceived the design of filling the bays above the gallery in the then new Union debating See also:

• ROOM

room (now the library) with paintings from the Morte d'Arthur, and he enlisted the co-operation of several of his artistic circle, including Burne-See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones and William Morris, in the work, which was begun in . See also:

• AUGUST (originally Sextilis)

August . Morris's picture was " Sir Palomides watching Tristram and Iseult," Burne-Jones's " Nimue luring See also:

• MERLIN, ANTOINE CHRISTOPHE (1762-1833)
• MERLIN, PHILIPPE ANTOINE, COUNT (1754-1838)

Merlin." Unfortunately the walls were too new and not properly prepared for painting; the colour soon began to fade and See also:

• WEAR

wear off, and in the course of twenty years or so the pictures became almost indistinguishable . similar technical qualities, poetry and pathos . The group comprises paintings by which Rossetti is best known, such as " Proserpina in Hades," which is, on the whole, perhaps the most original, if not indeed the most poetical and powerful, of all his output; " Sibylla Palmifera," " See also:

• VENUS

Venus Verticordia," " See also:

• LILITH (Heb. lildtu, " night "; hence " night-monster ")

Lilith " (the better of the two versions is now referred to), " Washing Hands," " Monna Vanna," " Il Ramoscello," " Aurea Catena," " La Pia," " Rosa Triplex," " See also:

• VERONICA, ST

Veronica Veronese," " La Ghirlandata," " See also:

• PANDORA (the " All-giving ")

Pandora," " The Blessed Damozel," and, last and largest, but not, perhaps, the greatest of his paintings (a distinction for which " The Bride " and " Proserpina " must contend), the famous " Dante's Dream," now in the See also:

• WALKER, FRANCIS AMASA (1840-1897)
• WALKER, FREDERICK (184o--1875)
• WALKER, GEORGE (c. 1618-169o)
• WALKER, HENRY OLIVER (1843— )
• WALKER, HORATIO (1858– )
• WALKER, JOHN (1732—1807)
• WALKER, OBADIAH (1616-1699)
• WALKER, ROBERT (d. c. 1658)
• WALKER, ROBERT JAMES (1801-1869)
• WALKER, SEARS COOK (1805—1853)
• WALKER, THOMAS (1784—1836)
• WALKER, WILLIAM (1824-1860)

Walker Art Gallery at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool .

Besides these, Rossetti produced a large number of fine things . Nearly the whole of them were exhibited by the Royal Academy and at the See also:

• BURLINGTON

Burlington Fine Art See also:

• CLUB (connected with " clump ")

Club in 1883, after their author's death . (F . G . S.)] Meanwhile, the literary See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of Rossetti had developed pari passu with his achievements as a painter . The See also:

• GOAL

goal before the young Rossetti's eyes was to reach through art the forgotten world of old romance—that world of wonder and See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery and spiritual beauty which the old masters knew and could have painted had not lack of See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science, combined with See also:

• SLAVERY

slavery to monkish traditions of See also:

• ASCETICISM

asceticism, crippled their strength . In that great See also:

• REBELLION

rebellion against the renascence of classicism which (after working much good and much harm) resulted in 18th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century See also:

• MATERIALISM (from Lat. materia, matter)

materialism—in that great movement of man's soul which may be appropriately named " the Renascence of the Spirit of Wonder in Poetry and Art "—he had become the acknowledged protagonist before ever the Pre-Raphaelite brotherhood was founded, and so he remained down to his last breath . It was by inevitable See also:

• INSTINCT

instinct that Rossetti turned to that mysterious side of nature and man's life which to other painters of his time had been a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy-See also:

• LAND

land, to be visited, if at all, on the wings of See also:

• SPORT (a contracted or shortened form of "disport," to amuse, divert oneself, O. Fr. se dis porter or deporter, to leave off work, hence to play, Lat. dis-, away, and portare, to carry; the origin of the meaning lies in the notion of turning away from ser

sport . For if there is any permanent vitality in the Renascence of Wonder in modern See also:

• EUROPE

Europe, if it is really the inevitable expression of the soul of man in a certain See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of See also:

• CIVILIZATION

civilization (when the sanctions which have made and moulded society are found to be not See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute and eternal, but relative, mundane, ephemeral and subject to the higher sanctions of unseen powers that work behind " the shows of things "), then perhaps one of the first questions to ask in regard to any imaginative painter of the 19th century is, In what relation did he stand to the newly awakened spirit of romance ? Had he a genuine and independent sympathy with that See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper of wonder and mystery which all over Europe had preceded and now followed the temper of See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation, prosaic See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance, pseudo-classicism and domestic materialism? or was his apparent sympathy with the temper of wonder, reverence and See also:

• AWE, LOCH

awe the result of artistic environment dictated to him by other and more powerful and original souls around him ? We do not say that the mere fact of a painter's or a poet's showing but an imperfect sympathy with the Renascence of Wonder is sufficient to place him below a poet in whom that sympathy is more nearly See also:

• COMPLETE

complete, but we do say that, other things being equal or anything like equal, a painter or poet of this time is to be judged very much by his sympathy with that great movement, which we See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call the Renascence of Wonder because the word " romanticism " never did See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express it even before it had been vulgarized by French poets, dramatists, See also:

• DOCTRINAIRES

doctrinaires and literary harlequins . To struggle against the See also:

• PRIM, JUAN, MARQUIS DE LOS CASTILLEJOS, COUNT DE REDS (1814-187o)

prim traditions of the 18th century, the unities of See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle, the delineation of types instead of characters, as See also:

• CHATEAUBRIAND, FRANCOIS RENE, VICOMTE DE (1768–1848)

Chateaubriand, Madame de See also:

• STAEL, MADAME DE

Stael, See also:

• BALZAC, HONORS DE (1790-1850)
• BALZAC, JEAN LOUIS GUEZ DE (1594-1654)

Balzac and See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo struggled, was well .

But in studying Rossetti's works we reach the very See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key of those " high palaces of romance " which the English mind had never, even in the 18th century, wholly forgotten, but whose mystic See also:

• GATES, HORATIO (1728-1806)

gates no Frenchman ever yet unlocked . Not all the romantic feeling to be found in all the French romanticists (with their theory that not earnestness but the See also:

• GROTESQUE

grotesque is the life-See also:

• BLOOD

blood of romance) could equal the romanticspirit expressed in a single picture or drawing of Rossetti's,• such, for instance, as Beata Beatrix or Pandora . For, while the French romanticists—inspired by the theories (See also:

• DRAWN

drawn from English exemplars) of See also:

• NOVALIS

Novalis, See also:

• TIECK, JOHANN LUDWIG

Tieck and See also:

• HERDER, JOHANN GOTTFRIED VON (1744-1803)

Herder—cleverly simulated the old romantic feeling, the " beautifully devotional feeling " which Holman Hunt speaks of, Rossetti was steeped in it: he was so full of the old See also:

• FRANK, JAKOB (1726-1791)

frank childlike wonder and awe which preceded the great renascence of materialism that he might have lived and worked amidst the old masters . Hence, in point of design, so original is he that to match such ideas as are expressed in " Lilith," " Hesterna Rosa," " Michael See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott's Wooing," the " See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea Spell," &c., we have to turn to the sister art of poetry, where only we can find an equally powerful artistic See also:

• REPRESENTATION

representation of the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea at the core of the old romanticism—the idea of the evil forces of nature assailing man through his sense of beauty . We must turn, we say, not to art—not even to the old masters themselves—but to the most perfect efflorescence of the poetry of wonder and mystery—to such See also:

• BALLADS

ballads as the " Demon See also:

• LOVER, SAMUEL (1797-1868)

Lover," to See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (17