,,drawings ,,of ,d4 ,g4 ,,rossetti ,illustration3 ,,modern ,,master ,,draughtsmen ,illustration3 ,,frontispiece ,,mary ,,at ,,the ,,door ,,of ,,simon ,photo1 ,mansell ,,drawings ,,of ,,rossetti ,illustration ,,london4 ,,george ,,newnes ,,limited ,,southampton ,,street ,,strand ,w4,c4 ,,new ,,york4 ,,charles ,,scribner',s ,,sons ,,ballantyne ,,press ,,london ,,edinburgh ,,list ,,of ,,illustrations ,,plate ,,mary ,,at ,,the ,,door ,,of ,,simon ,frontispiece ,,la ,,donna ,,della ,,finestra ,i ,,st4 ,,george ,,ii ,,st4 ,,george ,,iii ,,dantis ,,amor ,,iv ,,la ,,ghirlandata ,v ,,the ,,prince',s ,,progress ,,vi ,,study ,,for ,,the ,,salutation ,,vii ,,the ,,sangraal ,,viii ,,la ,,donna ,,della ,,fiamma ,,ix ,,the ,,roseleaf ,x ,,hesterna ,,rosa ,,xi ,,study ,,for ,,la ,,bella ,,mano ,,xii ,,the ,,parable ,,of ,,the ,,vineyard ,,xiii ,,study ,,for ,,head3 ,,desdemona',s ,,death ,,song ,,xiv ,,study ,,for ,,desdemona',s ,,death ,,song ,,xv ,,study ,,for ,,astarte ,,syriaca ,,xvi ,,mary ,,at ,,the ,,door ,,of ,,simon ,,xvii ,,the ,,couch ,,xviii ,,study ,,for ,,beatrice ,,xix ,,sketch ,,of ,,miss ,,siddal ,,xx ,,ricorditi ,,di ,,me ,,che ,,son ,,la ,,pia ,,xxi ,,the ,,parable ,,of ,,the ,,vineyard ,,xxii ,,christina ,,rossetti ,,xxiii ,,cassandra ,,xxiv ,,lady ,,with ,a ,,fan ,,xxv ,,pandora ,,xxvi ,,orpheus ,,and ,,eurydice ,,xxvii ,,the ,,palace ,,of ,,art ,,xxviii ,,lachesis ,,xxix ,,hamlet ,,and ,,ophelia ,,xxx ,,venus ,,verticordia ,,xxxi ,,ford ,,madox ,,brown ,,xxxii ,,miss ,,siddal ,,xxxiii ,,dante ,,gabriel ,,rossetti ,,xxxiv ,,study ,,for ,,queen ,,guinevere ,,xxxv ,,study ,,for ,,desdemona',s ,,death ,,song ,,xxxvi ,,sir ,,launcelot ,,in ,,the ,,queen',s ,,chamber ,,xxxvii ,,study ,,for ,,la ,,donna ,,della ,,finestra ,,xxxviii ,,study ,,for ,,dante',s ,,dream ,,xxxix ,,the ,,gate ,,of ,,memory ,,xl ,,study ,,for ,,the ,,blessed ,,damozel ,,xli ,,how ,,they ,,met ,,themselves ,,xlii ,,the ,,lady ,,of ,,the ,,golden ,,chain ,,xliii ,,the ,,death ,,of ,,lady ,,macbeth ,,xliv ,,mrs4 ,,william ,,morris ,,xlv ,,study ,,for ,,dante ,,xlvi ,,design ,,for ,a ,,ballad ,,xlvii ,,the ,,parable ,,of ,,the ,,vineyard ,,xlviii ,transcriber ,note3 ,the caption on ,plate ,,xxxiii was changed to ,,ford ,,madox ,,brown4 ,the caption on ,plate ,,xxxv was changed to ,,study ,,for ,,queen ,,guinevere4 ,in ,,list ,,of ,,illustrations1 changed ,,mr4 ,,william ,,morris to ,,mrs4 ,,william ,,morris4 ,the ae ligature was replaced with simply ae4 ,,the ,,drawings ,,of ,d4 ,g4 ,,rossetti ,,by ,t4 ,,martin ,,wood ,the intensely subjective nature of ,rossetti's art is what gives it fascination for its lovers2 it belonged to himself4 ,even in his early period and with his dramatic subjects this was so1 and partly by the depth of imaginative meaning he read into the faces of women4 ,the last phase of his art was entirely one of self-revelation2 his own moments of sorrow were mirrored in one woman's face1 moments in which he created sadly1 living over again in them some hours that had been happy4 ,this is her picture as she was3 ,it seems a thing to wonder on1 ,as though mine image in the glass ,should tarry when myself am gone4 99 99 99 99 99 for so ,was the still movement of her hands ,and such the pure line's gracious flow4 99 99 99 99 99 ',tis she3 though of herself1 alas6 ,less than her shadow on the grass ,or than her image in the stream4 ,one might hazard the question whether it were possible for a painter such as ,rossetti1 seeking expression in his art for this intensity of feeling1 to vie in the rendering of the external aspects with those painters who have approached life with that cold acuteness to the appearance of things and aloofness from their meaning characteristic of work that has contributed largely to the actual science of painting4 ,to ,rossetti life came over-crowded1 over-coloured4 ,there was too much for him to realise in his working moments4 ,the very richness of his nature embarrassed his output4 ,his gifts gave him so many ways of self-expression from which to choose4 ,the phases through which his genius passed1 the result of an inherited and rare temperament and its adventures1 made the science of painting prosaic for him4 ,he himself felt latterly that this impatience had left his ideas pathetically at the mercy of his materials4 ,apart from the quality in colour to which he attained1 one is conscious always in his paintings of the tragedy of genius striving for expression through an ineffectual technique4 ,rossetti's individuality1 however1 was so strong that it stamped itself everywhere2 in spite of every limitation his art explains his attitude towards life4 ,in his ability to make it show this his greatness lies1 and in the fact that the point of view that it suggested was his alone4 ,his art created for itself its own atmosphere--an unfamiliar one at first to ,englishmen1 with its subserviency of everything to a romantic emotionalism4 ,the histories of the world for ,rossetti were its stories of emotion1 and in every place that his memory knew ,love's image had been set to reign1 ,love who had wandered down through the ages decked with the flowers of art1 offerings of bygone lovers1 dead lovers to never dying ,love4 ,as a strange spirit ,rossetti entered modern ,london4 ,a heart rich from many forgotten experiences seemed to have lodged itself in him and he painted with eyes filled with the colours of old things4 ,for him the tapestries could never fade in a room that had known love's history1 nor the colours leave the missal which told the story of a soul4 ,how far his drawings were intended to foreshadow large paintings which he desired to make as windows for us to look with him into his romantic country we cannot say4 ,as it is they show that it was in ,rossetti's power to be the greatest imaginative illustrator of his century2 that he was not so seems to prove that in this way1 as in some others1 he failed to attain to much that at first had seemed included in his destiny4 ,in his paintings1 in his poetry1 in these drawings something there is that was new1 and that brought a fresh phase into art and literature in ,england4 ,it is something which has influenced permanently the nation's thought and has been even admitted into the procession of its fashions4 ,for a time women tried to look as the women in his paintings1 so much had the type he chose1 which was his own creation1 imposed itself upon their imagination4 ,the ,rossetti woman1 if she did not supersede the early ,victorian type1 at least helped to change it1 and to mark a change which was taking place in the ideals of the nation4 ,fresh tendencies in national thought are always correspondingly represented by a change in the type of women idealised in its art and poetry4 ,when the ,victorian type went1 the time had passed when homage was given to women for a surrender of their claims on life4 ,the new type spoke of the ardent way in which another generation of women was creating for itself wide interests in the world4 ,rossetti displayed in his art the dramatic sense2 we find him in his earlier drawings always illustrating dramatic subjects1 rendering action in his figures in a way that proclaims him at once as one of those to whom the actions of men1 the faces of women1 come tragically or otherwise into every dream4 ,one is enabled to write more clearly on this point by comparing him with his friend ,burne-,jones4 ,burne-,jones' figures live in a dream in which the world has little part1 whilst ,rossetti's dream is of the world itself4 ,his work is rich with the human experience that is absent in the art of his friend4 ,he is accredited with being the leader of a phase of decadence1 while1 as a matter of fact1 no one could have been further removed from anything like a decadent pose4 ,rossetti had an unconscious and unexplained sympathy for life that tragically pursued1 and found itself shipwrecked upon1 its own illusions4 ,it was part of his art's vitality4 ,there was little defiance in his attitude1 it was altogether one of pity4 ,indiscriminate publication has familiarised the public only with the last sad phase of ,rossetti's art1 and unhappily this is esteemed characteristic4 ,the intimate patrons of the painter possessed themselves of his early work2 now it is inaccessible1 and it is not at his best that he is seen in any public collection4 ,it is possible to like the art of ,rossetti very deeply1 and also to love the changing colours of the sea and the shadows of the sun clouds moving swiftly on the hills4 ,but often to pagan lovers of such things the art of ,rossetti1 shuttered close in its mediaeval darkened rooms1 has seemed as an almost poisonous flower1 with its forgetfulness of the world without4 ,it can never be sufficiently emphasised how necessary it is in judging any art first of all to share some of the mood in which it was created4 ,those who would enter into the atmosphere of ,rossetti's art must find their way to it in the darkened light of dreams4 ,it stands in no relation whatever to the workaday world4 ,a poet whose writings realised an opposite temperament to ,rossetti's own would have had the test of poetry that it could be taken to the fields in the early morning and read4 ,to attempt to bring a painting of ,rossetti's into relationship with nature out of doors would to all intents put an end to the reason for its artistic existence4 ,it would be to demand of it that it should strike a note in tune with a mood the direct opposite to that which it was its intention to create4 ,though art should always be examined in its own atmosphere1 much of the criticism applied to ,rossetti is but the bringing of his art out into the fields4 ,it is not valuable criticism that approaches work in a spirit of this kind4 ,a great deal too much has been made in writing of ,rossetti's ,pre-,raphaelitism4 ,to a nature like ,rossetti's any school1 any methods he may have taken up with1 or inspired1 would be largely accidental to his environment4 ,arrived at a time of reaction1 of revolution in ,english painting1 with his qualities of leadership he threw himself into ,pre-,raphaelitism as a new movement1 but it is more than probable his genius would have found methods of expression as personal to itself in the refinements that entered ,english painting in the wake of ,pre-,raphaelitism1--only the ,pre-,raphaelite movement could not have been but for the ardent genius of ,rossetti which poured inspiration into all those who gathered about him4 ,he departed from ,pre-,raphaelite tenets just when it suited him2 its hold over him lay chiefly in that he liked to realise very definitely the shapes of objects in his art1 because they made his dreams real and gave pleasure to those eyes of his that so hungered after every sign of beauty4 ,the secrets of art lie1 after all1 more within the vision than in expression4 ,that ,rossetti could have directed his genius into another manner from ,pre-,raphaelitism seems possible from the fact that in his poetry so many styles meet and show his variegated temperament expressing itself in opposing forms4 ,what was of literary significance in ,rossetti's art perhaps gained from ,pre-,raphaelitism1 for ,pre-,raphaelitism made things symbolical4 ,to nearly every object that they brought into their pictures the ,pre-,raphaelites gave meaning other than its own1 other than that which was simply artistic4 ,now ,rossetti1 looking on his art and its relationship to life from a literary more than from an artistic standpoint1 striving to attain in art not an imitation of life but an expression of his ideas about it1 found1 as we have said1 painters' problems a difficulty4 ,he was irritated by difficulties which to a whole-hearted painter present pleasures of conquest in proportion to their resistance to his craftsmanship and skill4 ,in other ways ,rossetti lacked the characteristics of really great painters as such2 he had not the seeing eye that gives to every outward thing a shape and colour already formed within the mind4 ,from such a cult of the eyes as this comes the true painter4 ,by taking thought art does not become a metaphor for ideas1 though the whole aim of its subject may be to make it so4 ,art is always metaphorical1 whatever its subject and however unconsciously1 to itself4 ,the presence of genius only is needed4 ,yet because in actual pigment red can never be anything other than red1 ideas are clothed more easily in the colour of words1 for in themselves words have no colour and they have no existence other than the existence which they have in thought1 and the colour which any language lends them4 ,rossetti could not learn painting instinctively as he learnt writing2 for him the materials were not so simple1 they remained during a long apprenticeship an obstacle rather than an aid to impassioned expression1 and from his apprenticeship he never emerged into anything approaching freedom4 ,upon the vivacity of the imagination in them1 and not upon subtlety of line or of observation1 the claims of ,rossetti's drawings rest1 though it is wonderful how often he lifts his art up to the level of all that he has to say and imposes upon us a forgetfulness of its shortcomings4 ,his studies do not reveal a master who looked upon objects and beautiful forms for their own sake and for the sake of the tender drawing he could find in them4 ,rossetti1 indeed1 loved a visible world1 and liked to interpret the beauty of natural objects1 but he was always in haste to get the scene set where such objects were1 after all1 for him only as accessories to the thing enacted1 or as notes in an orchestration2 of value but not existing by themselves4 ,he gave to every object the import of the drama in his mind2 in his art things seem to have about them the meaning lent them by an imagination that spiritualised objective things so that they seem there in essence only and rendered with a sympathy that shows how alive to the significance of outward beauty ,rossetti was1 and how his own time and every-day surroundings were fused and blent with his most far-reaching imaginings4 ,to turn to outward things1 and to study them as merely offering various surfaces to the light1 holding depths of shadow1 possessing lines of delicate shape1 was1 however1 impossible to his temperament4 ,the characteristic story of ,madox ,brown setting in early days the young ,rossetti down to paint such still life as jam jars1 and of the young painter's impatience1 shows that to paint or draw the objects for their own sake only was not congenial to him4 ,there was very likely sufficient of the true painter in ,rossetti to make such study a delight1 had his mind ever been still enough for his hand to playfully carry out such problems2 but always at the back of his mind1 at the back of the world for him1 a strange drama of love and beauty went on4 ,how then could time be spent in studying what1 after all1 were merely objects1 how could time be spent in deliberating over the study of them8 ,and so the drawings which ,rossetti left us are seldom studies of poses and draperies1 such elaborate scaffolding as that upon which the art of ,burne-,jones was built4 ,they are little pictures in most cases1 in which the pencil or the pen afforded a readier and less laboured means of realising quickly the life dramatic of imagination4 ,illustration essentially suited his genius in so far as in small dimensions it was easier to reflect easily1 whilst the power of creation lasted1 what was moving in a mind that was held by no one mood for long4 ,it suited his genius also because it minimised the labour of creation1 and with ,rossetti it was always apparent that creation was a labour4 ,he himself has said in that other art in which perhaps he always found his happiest expression-- ,unto the man of yearning thought ,and aspiration1 to do nought ,is in itself almost an act1-- ,being chasm-fire and cataract ,of the soul's utter depths unseal'd4 ,a body that grew faint under the strain of over-feverish genius undoubtedly imposed its indolence upon ,rossetti's spirit1 so that he shirked the difficulties of his earlier subjects until the downfall of his art set in with the constant production1 for indiscriminating purchasers1 of a face that grew more and more distant from the beautiful type of his earlier inspiration1 which till the end he always pathetically imagined himself to be creating4 ,turning to the illustrations1 that called ,a ,drawing for a ,ballad with its free and loose handling1 its qualities of selection and emphasis1 show how great in many ways ,rossetti was4 ,what lines could be simpler than those in the girl's dress8 ,in such a sketch as this1 in the little things1 ,rossetti is masterly1 and one cannot here separate what he has to say from the saying of it4 ,this sketch shows an artist great enough to be unpretentious1 and it shows that the happy qualities of mind1 united with its craft1 sprang from his habits of thought4 ,we see in it with what natural tenderness he has sketched1 how by one of the girl's hands her companion's face is lifted to the kiss4 ,this naturalness holds the secret of ,rossetti's power4 ,his art was consciously set on decoration1 but this is not a decoration2 in all that he has read into the miniature faces and in the embracing of the hands1 we get in this sketch more intimately than anywhere else evidence of his great heart4 ,this dramatic sympathy would attract every one could it shine more often through the carelessness1 the unhappiness1 that at the end obscured it4 ,in this way we must think of ,rossetti as a failure1 and a great man cannot fail once without blinding the world to his many successes4 ,had ,rossetti possessed no sense of colour1 and had he not completed many large pictures and elaborate illustrations1 but only followed this one path as far as he could go1 doing only such things as this1 without being a poet and without being a painter1 who knows to what extent we should have praised him for these slighter things alone8 ,there is no doubt that we expect so much from him1 and he has given us so much in other ways1 that we forget the treasures hidden here4 ,one could wish that he had always worked in his drawings with the freedom indicated in this sketch1 but it was not the fashion then4 ,work in ,rossetti's day had to come into the market elaborated to the point of its soul's extinction in order to be taken seriously4 ,now that we have taught ourselves always to value first any indication of the spirit1 what would we not give to possess ourselves of work by this artist in impulsive drawings1 and it must have been within ,rossetti's power to do them down to the last4 ,the drawing of the death of ,lady ,macbeth is one of the most wonderful things ,rossetti ever did1 and it is characteristically marred by imperfect drawing4 ,the drawing is of great quality throughout1 except for the figure with head averted4 ,some wonder why the ability to make the rest of the picture perfect failed the artist here4 ,it is probably because the action of each figure is controlled only by the imaginative impulse that sways the whole composition1 that gives to every part of it dramatic intensity as if executed all in one mood1 bringing in one moment of creation the whole to life on paper4 ,those in sympathy with the nature of ,rossetti's art do not count this piece of bad drawing a disastrous flaw4 ,the rarity of genius makes them accept everything gratefully2 it disarms a cavilling attitude4 ,the fault in their eyes even seems to add to the tense note struck as a changed note in an over sweet harmony4 ,its dissonance breaks the monotonous rhythmic decoration1 and its harshness relieves the detail so delicately wrought4 ,rossetti is of the extreme few who have finished minutely without sacrificing the qualities of greater significance than finish4 ,his art is great enough to make us forget the detail and to render us for the time oblivious of it4 ,in our absorption in the subject it seems for a time not to exist1 only the tense mood exists1 the intense moment4 ,in a picture in which the moments are aflame with tragedy ,rossetti drew this figure moving slowly and with decorative convention4 ,all the figures are controlled by such a convention2 they are partaking in a high drama4 ,such a convention as ,irving has in the art of acting gives something to the dignity of tragedy4 ,the conventions of ,rossetti too are so much in the spirit of high art1 they conform so well to the claims of art1 that they lend beauty to that power of his of giving to his drawings dramatic perfection4 ,in regard to the particular figure of which we write it is better1 faulty as it is1 than if it had been redrawn in another mood and given again to the picture4 ,it is to be regretted1 of course1 that it did not come rightly as it is1 but it is less to be regretted than if he had substituted dead perfection for living imperfection1 a studied and acquired idea of the pose in place of the instinctive one4 ,the first illustration for ,desdemona's ,death ,song is simply a rough sketch1 but even taken as such it shows how blind or how careless in the matter of form ,rossetti at times could be4 ,here the lower part of the figure is so obviously lacking in proportion that it prevents us accepting an otherwise characteristic drawing as such4 ,still of ,rossetti's best moments is the controlling grace of the bend in the maid's wrist1 and the movement of her head as she combs ,desdemona's hair4 ,the curtain blown into the room by the wind is one of those touches ,rossetti gives everywhere2 by insistence on such an incident he makes us live the moments depicted in his pictures--just as we find ourselves in moments of extreme tension watching eagerly something absolutely trivial and making some accident portent with meaning4 ,in the second and completer study for this picture we find the proportions corrected2 thought and after-thoughts have developed the artist's intentions4 ,desdemona1 with her hand hanging thoughtfully1 is an improvement on her attitude at first4 ,the maid1 however1 has lost much of the spontaneity of her original gestures4 ,like all those in whose art we find phases of an extraordinary beauty ,rossetti could often draw in the most uninspired fashion1 presumably where his interest flagged4 ,in the drawing of ,hamlet and ,ophelia1 ,ophelia is charming2 but it is with difficulty that we are reconciled to the ,hamlet2 it is difficult even to understand in what position the figure is standing2 not that this indefiniteness often matters in art1 but here1 where everything else is so precise1 it provokes dissatisfaction4 ,from ,rossetti alone could have come the background with the winding ways parting and meeting rhythmically with steps up to the bridge4 ,such architecture as this1 and all the quaint furniture in his pictures1 were designed by himself4 ,from his facile imagination anything might come4 ,certain objects that were full of associations of old things he returned to often in his drawings1 such as old ,books of ,hours with all the sentiment that many hands had given to them4 ,the niche in the picture containing the ,crucifix and the ,breviaries is significant of the ,religion in ,rossetti's art4 ,this was his religion1 to think of ,divine things by the legends of a romantic ,church4 ,in comparing the study for ,christ at the ,house of ,simon the ,pharisee with the completed drawing1 the question arises whether1 with the elaboration that has come into the latter1 some of the intensity of the study has escaped2 or whether1 on the other hand1 the subject has gained4 ,the simplicity of the first undoubtedly possesses something which is subsequently lost in elaboration1 and yet taking the completed picture and looking into it one finds a lesson in ,rossetti's methods4 ,we find that by dwelling upon his subject he has emphasised certain notes1 has repeated as it were a refrain1 and made more spirited and poetic in rendering the figure of the lover in the foreground4 ,after-thoughts have given every touch that could possibly enrich1 and1 at the same time concentrate1 dramatic motif in this figure4 ,the embroidery on his coat1 the flowers in his hair1 the hair itself1 and the face so mocking and fascinating and sure of itself1 is more in the spirit of the subject than the gentler face as it appears in the sketch4 ,the figure of the ,magdalene gains in many ways as completed1 and though the distressed loving face and the flowing hair of the sketch are changed1 the alteration of the expression on the face from one of intense distress to one of proud determination is very interesting as showing how his subjects grew and changed under his hand4 ,it is wholly to the gain of the picture the different gesture which he has arrived at in the second drawing1 where the ,magdalene with both hands throws the flowers from her hair4 ,the dramatic quality upon which we have insisted as part of ,rossetti's art is nowhere better shown than in the deer quietly eating leaves from the wall1 all unconscious that there is acted out beside it the most pathetically beautiful drama of the world4 ,one misses in the finished picture some of the sensitive drawing given in the sketch to the ,magdalene's dress4 ,here1 instead1 her clothes are as if she were perfectly still2 they give no indication of her movements and the stormy action round her4 ,that is the fault of ,pre-,raphaelitism--to fritter away the spirit for the sake of the embroidery upon the body's clothes2 to lose emphasis in elaboration1 to sacrifice a greater beauty for a meaner one4 ,certain characteristics that are strongest in ,rossetti's art are the outcome of the intensely human course his imagination took4 ,his drawings are of the kind that one can live with long2 looking into them often one is always rewarded by finding some new thing1 and one's thoughts are ever being arrested by new appreciation of some quaint conceit4 ,the depths of ,rossetti's imagination are such in these drawings that we may look into them whilst watching the changes of our own thought4 ,the best that art has given to us has often come from artists in a quite sub-conscious way4 ,because ,rossetti's genius was so many-sided it is probable that he could explain most of what he did to himself1 and if in the picture of which we have been speaking we take such a thing as the alterations between the figures in the background1 and as they are shown in the sketch1 it will seem apparent that he gave reasons to himself for everything in his compositions1 and did not drift into anything by accident in aiming at design4 ,in the sketch the nearest figure pursues the ,magdalene beckoning1 in the finished drawing her movements are arrested1 she and the other figures pause before the door1 speechless with cynical amusement and surprise as the ,magdalene enters4 ,you should have wept her yesterday was done as an illustration to one of his sister's poems4 ,it represents the return of the ,prince after many delays to find his lady has died1 believing him unfaithful4 ,the ugly drawing of the ,prince spoils an otherwise beautiful design4 ,this ugliness is only compensated for by the six girls who turn their pitiful eyes so naturally from their prayer to look towards the ,prince4 ,the grace of girlhood in their faces must come as a revelation to some of ,rossetti's critics4 ,the illustration to ,tennyson's ,palace of ,art should excite us as curious and beautiful4 ,we have in it one great poet's illustration for another's poem1 made with perfect art4 ,we have in this drawing the echo of the one's imagination in the other4 ,rossetti has brought the drawing on to the paper as a dream4 ,an immense courage is demanded of the artist1 when he shall forget his reason for a dream1 and when he has the courage not to reconcile his dream with the demands of the prosaic mind1 demanding only what is prosaic4 ,the lines illustrated are-- in a clear-wall'd city on the sea1 ,near gilded organ-pipes1 her hair ,wound with white roses1 slept ,st4 ,cecily ,an angel look'd at her4 ,the drawing interprets1 and it is wonderful that it should do so1 the imaginative mood in which we feel these lines were written4 ,like music they bring their message in mystical sound4 ,one accepts their beauty feverishly4 ,in such a mood as they invite reason greets imagination4 ,the words do not represent things or a place1 but a mood and an emotion4 ,in them is just such a strange and beautiful medley as music brings to us1 as great art always makes reasonable to us4 ,one thing we must not forget in criticising ,rossetti1 and that is that we are speaking of one who was among the first to enter into the inheritance of his age1 that on these grounds his art is placed amongst the arts which in every age live by reason of their significance4 ,commemorated in ,grecian art is the perfected form of man as the flower of animal evolution4 ,with this perfection attained another day of creation was begun and is continued1 in which the things of the spirit are being built up until the perfect spirit is made4 ,and just as it was long before man so far awoke to a knowledge of the beauty which triumphs in him as to worship his own shape 7placing before himself his own image as the standard to which the gods had led him1 and from which he might not go back without fear of their displeasure7 so not everywhere yet is the spirit of man learning its own beauty from the consciousness of itself to which it has attained4 ,such art as ,rossetti's1 with its subordination of everything to an emotional and spiritual motive1 does certainly anticipate1 as other modern work like the sculpture of ,rodin anticipates1 the direction in which the greatness of art in the future must tend4 ,that which is concerned with character1 with all that outwardly gives indication of the soul1 has appeared and re-appeared triumphantly throughout the history of art--a spirit changing its raiment4 ,the art of ,rossetti fails just in so far as its craftsmanship is a failure1 but its imperfections cannot take away its significance4 ,christianity made the spirit visible and took serenity from the face of art4 ,to-day ,art is spiritualising itself by its refinements4 ,it is perfecting itself through such an impressionism of the senses as we have in the art of ,whistler1 and through the science of the impressionists of ,france4 ,their subtleties are based on the broad truths given by masters long ago1 and fearful lest any sources of our inspiration should be forgotten what is modern in art has in turn assumed almost every antique shape4 ,an old manner of painting which was great1 does not share its greatness with the modern imitator1 but it does not necessarily withhold it from him4 ,art may clothe itself in some old style1 as ,rossetti's did1 and what shape it takes1 whether based on the old or growing out of the new1 does not matter when it is the messenger of inward things4 ,and since no beauty of bodily form greater than ,grecian beauty is possible to art1 that art will be great which betrays the spirit's flame4 ,the future of life and of art are one4 ,it is inevitable that art shall be great as the spirit of man grows rich4 ,it is for this that we have left behind the serenity which was of ,greece and of the partly awakened soul4 ,illustration ,,illustrations ,,permanent ,,reproductions ,,of ,,the ,,pictures ,,and ,,studies ,,by ,,dante ,,gabriel ,,rossetti1 ,g4,f4 ,,watts1 ,o4,m41 ,r4,a41 ,,and ,,sir ,,edward ,,burne-,,jones ,,are ,,published ,,by ,,fredk4 ,,hollyer1 #i ,,pembroke ,,square1 ,,kensington1 ,w4 ,,illustrated ,,catalogue #ab ,,stamps ,illustration3 ,,plate ,i ,,la ,,donna ,,della ,,finestra ,photo1 ,mansell ,illustration3 ,,plate ,,ii ,,st4 ,,george ,photo1 ,hollyer ,illustration3 ,,plate ,,iii ,,st4 ,,george ,photo1 ,hollyer ,illustration3 ,,plate ,,iv ,,dantis ,,amor ,photo1 ,mansell ,illustration3 ,,plate ,v ,,la ,,ghirlandata ,photo1 ,the ,autotype ,co4 ,illustration3 ,,plate ,,vi ,,the ,,prince',s ,,progress ,photo1 ,mansell ,illustration3 ,,plate ,,vii ,,study ,,for ,,the ,,salutation ,photo1 ,hollyer ,illustration3 ,,plate ,,vii ,,the ,,sangraal ,photo1 ,mansell ,illustration3 ,,plate ,,ix ,,la ,,donna ,,della ,,fiamma ,photo1 ,mansell ,illustration3 ,,plate ,x ,,the ,,roseleaf ,photo1 ,mansell ,illustration3 ,,plate ,,xi ,,hesterna ,,rosa ,photo1 ,mansell ,illustration3 ,,plate ,,xii ,,study ,,for ,,la ,,bella ,,mano ,photo1 ,hollyer ,illustration3 ,,plate ,,xiii ,,the ,,parable ,,of ,,the ,,vineyard ,photo1 ,mansell ,illustration3 ,,plate ,,xiv ,,study ,,for ,,head4 ,,desdemona',s ,,death ,,song ,photo1 ,hollyer ,illustration3 ,,plate ,,xv ,,study ,,for ,,desdemona',s ,,death ,,song ,photo1 ,mansell ,illustration3 ,,plate ,,xvi ,,study ,,for ,,astarte ,,syriaca ,photo1 ,hollyer ,illustration3 ,,plate ,,xvii ,,mary ,,at ,,the ,,door ,,of ,,simon ,photo1 ,hollyer ,illustration3 ,,plate ,,xviii ,,the ,,couch ,photo1 ,mansell ,illustration3 ,,plate ,,xix ,,study ,,for ,,beatrice ,photo1 ,mansell ,illustration3 ,,plate ,,xx ,,sketch ,,of ,,miss ,,siddal ,photo1 ,mansell ,illustration3 ,,plate ,,xxi ,,ricorditi ,,di ,,me ,,che ,,son ,,la ,,pia ,photo1 ,caswall ,smith ,illustration3 ,,plate ,,xxii ,,the ,,parable ,,of ,,the ,,vineyard ,photo1 ,mansell ,illustration3 ,,plate ,,xxiii ,,christina ,,rossetti ,photo1 ,mansell ,illustration3 ,,plate ,,xxiv ,,cassandra ,photo1 ,mansell ,illustration3 ,,plate ,,xxv ,,lady ,,with ,a ,,fan ,photo1 ,hollyer ,illustration3 ,,plate ,,xxvi ,,pandora ,photo1 ,mansell ,illustration3 ,,plate ,,xxvii ,,orpheus ,,and ,,eurydice ,photo1 ,mansell ,illustration3 ,,plate ,,xxviii ,,the ,,palace ,,of ,,art ,photo1 ,mansell ,illustration3 ,,plate ,,xxix ,,lachesis ,photo1 ,mansell ,illustration3 ,,plate ,,xxx ,,hamlet ,,and ,,ophelia ,photo1 ,mansell ,illustration3 ,,plate ,,xxxi ,,venus ,,verticordia ,photo1 ,caswall ,smith ,illustration3 ,,plate ,,xxxii ,,ford ,,madox ,,brown ,photo1 ,hollyer ,illustration3 ,,plate ,,xxxiii ,,miss ,,siddal ,photo1 ,hollyer ,illustration3 ,,plate ,,xxxiv ,,dante ,,gabriel ,,rossetti ,photo1 ,hollyer ,illustration3 ,,plate ,,xxxv ,,study ,,for ,,queen ,,guinevere ,photo1 ,hollyer ,illustration3 ,,plate ,,xxxvi ,,study ,,for ,,desdemona',s ,,death ,,song ,photo1 ,mansell ,illustration3 ,,plate ,,xxxvii ,,sir ,,launcelot ,,in ,,the ,,queen',s ,,chamber ,photo1 ,hollyer ,illustration3 ,,plate ,,xxxviii ,,study ,,for ,,la ,,donna ,,della ,,finestra ,photo1 ,hollyer ,illustration3 ,,plate ,,xxxix ,,study ,,for ,,dante',s ,,dream ,photo1 ,mansell ,illustration3 ,,plate ,,xl ,,the ,,gate ,,of ,,memory ,photo1 ,hollyer ,illustration3 ,,plate ,,xli ,,study ,,for ,,the ,,blessed ,,damozel ,photo1 ,hollyer ,illustration3 ,,plate ,,xlii ,,how ,,they ,,met ,,themselves ,photo1 ,mansell ,illustration3 ,,plate ,,xliii ,,the ,,lady ,,of ,,the ,,golden ,,chain ,photo1 ,hollyer ,illustration3 ,,plate ,,xliv ,,the ,,death ,,of ,,lady ,,macbeth ,photo1 ,mansell ,illustration3 ,,plate ,,xlv ,,mrs4 ,,william ,,morris ,photo1 ,mansell ,illustration3 ,,plate ,,xlvi ,,study ,,for ,,dante ,photo1 ,hollyer ,illustration3 ,,plate ,,xlvii ,,design ,,for ,a ,,ballad ,photo1 ,mansell ,illustration3 ,,plate ,,xlviii ,,the ,,parable ,,of ,,the ,,vineyard ,photo1 ,mansell