Chapter XXXVIII: Letter V (7)

Tuesday 13th to Thursday 15th.--On Tuesday Ruskin’s letter appeared in _The Times_. He says that he believes Millais and Hunt to be at a turning-point of their career, “from which they may either sink into nothingness or rise to very real greatness.” The explanation he gives of the name “Præraphaelite” is very sensible; “They intend to return to early days in this one point only--that, as far as in them lies, they will draw either what they see or what they suppose might have been the actual facts of the scene they desire to represent, irrespective of any conventional rules of picture-making; and they have chosen their unfortunate though not inaccurate name because all artists did this before Raphael’s time, and after Raphael’s time did _not_ this, but sought to paint fair pictures rather than represent stern facts; of which the consequence has been that, from Raphael’s time to this day, historical art has been in acknowledged decadence.” Ruskin then deals with the nonsense about “imitation of false perspective”; asserting that the only error in the five pictures (including Collins’s) is that the top of the green curtain in the distant window (of the _Mariana_) has too low a vanishing point; and that he will undertake to prove a dozen worse errors in any twelve of the most popular pictures of the day containing architecture;--and, as to the accusation of “drapery snapped instead of folded,” that, “putting aside the small Mulready, and the works of Thorburn and Sir W. Ross, and perhaps some others of those in the miniature-room which he has not examined, there is not a single study of drapery in the whole Academy, be it in large works or small, which, for perfect truth, power, and finish, could be compared for an instant with the black sleeve of the Julia, or with the velvet on the breast and the chain-mail of the Valentine; or with the white draperies on the table in _Mariana_, and of the right-hand figure in _The Dove returning to the Ark_; and further that, as studies both of drapery and every minor detail, there has been nothing in art so earnest or so complete as these pictures since the days of Albert Durer.” He concludes with objecting to the Sylvia and the figure in the _Dove_ picture, on the score of deficient beauty, and hopes “to be permitted to enter into more special criticism in a future letter.” Altogether the letter is very satisfactory; anything but unqualified praise, which is well in one sense, as doing away with the accusation of partisanship. Ruskin himself expressly disclaims personal acquaintance. One point which I think it might be advantageous to notice in a letter from some of ourselves to _The Times_ is that Ruskin says something of P.R.B. “Romanist and tractarian tendencies,” in reference to the _Mariana_ and to Collins’s picture. Such tendencies, as utterly non-existent in fact, it might not be amiss to repudiate; the doing which would, besides, afford an opportunity for entering into any other details or rectifications seeming advisable. But perhaps it will be preferable to wait for Ruskin’s sequel.... On Wednesday I had a letter from Gabriel, enclosing a notice of Hunt,[263] and bidding me to Millais’s to-morrow. Brown, Hunt, and Gabriel, were there; and we are all agreed that Ruskin’s letter will do good. Patmore, at whose instance it was written, thinks we should send Ruskin our thanks; but this seems of doubtful propriety, as it might be interpreted into making interest with a view to his second letter. When that is out, something of the kind suggested would certainly appear right. Millais has had another request (from a Mr. Boddington) for his _Dove in the Ark_, and a particular invitation from the Birmingham Exhibition for him to send it thither. Mr. Combe also (who bought Hunt’s picture of last year) has written to ask the price of the _Valentine and Proteus_, and of Collins’s. A laudatory review of Hunt and Millais appears in _The Guardian_, devoting to them three or four times as much space as to any other artist.... As to abuse, it seems to be in the air, so much does the infection spread among critics in word and print.... A nuisance which has revived within these three days is the buried _Germ_; George Tupper having called on me to say that he is winding up its money-matters, and finds himself a clear loser by some £30. Outstanding accounts are of course in requisition; and I find that the copies of Nos. 3 and 4 with which he credits me have so almost entirely disappeared that, what with making good their value (the money-value of _The Germ_!) and paying for the etching-plates which I could scarcely leave Tupper to defray, I have still a pretty sum to fork out; whilst most of the other quondam proprietors have to look up their share of the expenses of Nos. 1 and 2.

Friday 16th to Friday 23rd.--A hit at the P.R.B. (conscientiously speaking, very stupid) appears in _Punch_ of Wednesday, introducing caricatures of the _Mariana_ and of Collins’s picture. It is admitted, however, with a reference to Ruskin, that the P.R.B. pictures are _true_; and the article is directed in part against supposed Romanizing tendencies. On the 16th Woolner, Gabriel, and myself, were at Tupper’s; this being the first day since his illness that Woolner has returned to work, doing something on the minor Wordsworth monument[264] for which he was commissioned. He is to be introduced next week at Carlyle’s to Ruskin; who, as Patmore informs him, had written his second letter to _The Times_, but now thinks of withholding it on the consideration that it casts so strong a slur on all non-P.R.B. living painters.... Carlyle the other night, in talking with Woolner was speaking of “Alfred” (as he calls Tennyson) and Browning in reference to their embodying their thoughts in verse, when there is so great need of doing things in the directest way possible: “Alfred” he said, “knows how to jingle, but Browning does not.” He spoke however of Browning’s intellect in the highest terms. He then referred to the P.R.B.; “These Præraphaelites they talk of are said to copy the thing as it is, or invent it as they believe it must have been: now there’s some sense and hearty sincerity in this. It’s the only way of doing anything fit to be seen.” Woolner’s medallion pleased him very greatly. We saw Tupper’s bas-relief which the Academy rejected. It is illustrative of _The Merchant’s Second Tale_, by (or ascribed to) Chaucer, and represents the chess-playing between the merchant and the old man he meets in the strange city. It is at the extremest edge of P.R.Bism, most conscientiously copied from nature, and with good character. The P.R.B. principle of uncompromising truth to what is before you is carried out to the full, but with some want of consideration of the requirements peculiar to the particular form of art adopted. According to all R.A. ideas, it is a perfect sculpturesque heresy, whose rejection--especially seeing that it is the _introductory_ sample of the P.R.B. system in sculpture--cannot be much wondered at, though certainly most unjustifiable....

Saturday 24th.--... Gabriel, who has given notice to quit his present studio in Red Lion Square, has received from Brown the offer of a share in his; and purposes to accept it. He is inclined to paint this year, instead of _The Meeting of Dante and Beatrice on Earth and in Paradise_ (which he is re-designing), some other Dantesque subject--probably from the _Vita Nuova_.

* * * * *

1853, 23rd January.--I at last resume the P.R.B. Journal, not too sanguine of continuing it for long.

Our position is greatly altered. We have emerged from reckless abuse to a position of general and high recognition, just so much qualified by adverse criticism as suffices to keep our once would-be annihilators in countenance. I limit myself to the briefest recapitulation of last year’s public doings and our present state.

Hunt, Millais, Stephens, and Woolner, exhibited at the R.A.--Hunt sent _The Hireling Shepherd_; Millais, _Ophelia_, and _A Huguenot on the Eve of St. Bartholomew_; Stephens, a small portrait of his Mother; Woolner, his cast for the competition monument to Wordsworth, and medallion heads of Carlyle, Wordsworth, and Miss Orme.[265] Gabriel exhibited three designs (water-colour) in the Exhibition of Sketches opened in December--_Giotto painting Dante’s Portrait_, _Beatrice denying Dante her Salutation_, and a _Lady in Venetian Costume_.[266]

At present Hunt is preparing for next exhibition. He purposes exhibiting his old picture from _Measure for Measure_, _Christ at the Door_, a picture of Sheep commissioned by Maude, a portrait, and probably two others of which I shall be able to speak more certainly hereafter. Soon after sending in, he intends to go to Syria. Millais is painting two subjects of invention--one of the Stuart period,[267] the other named _The Ransom_. Gabriel has in hand a picture in two compartments,[268] symbolizing, in life-sized half-figures, Dante’s resolve to write the _Divina Commedia_ in memory of Beatrice. Woolner is absent from England since July last, having gone to the diggings in Australia, where he hopes to make money sufficient to enable him to return in a few years, and pursue sculpture with endurable prospects. Stephens is doing a portrait of his Father. I am still on _The Spectator_.

Monday 17th to Saturday 22nd.--Better than art-news signalizes this week--that, namely, of the arrival of Woolner’s vessel, the Windsor, at Melbourne on the 22nd October last. It is the first we have heard about him since he reached Plymouth on his passage out. The Howitts, whom he had gone to join, with Bernhard Smith and Bateman, had started into the interior of the country only two days before. Thus much is gathered from the shipping news in the _Times_ and Howitt’s letters to his family: from Woolner himself we have yet to wait for news. Another item of information is rather sad. Poor Collinson, our once P.R.B., is said to be on the eve of relinquishing art and entering a Jesuit college[269] as a “working brother,” I am told, whatever that may mean.... Gabriel has been giving the finishing touches to some alterations he has made in his old _Annunciation_ picture, consequent on an offer from McCracken of Belfast to buy it, on Hunt’s recommendation, for the original price, £52. 10s. I have been sitting to him to assist his repainting of the Angel’s head. Friday was to have been a P.R.B. meeting at Stephens’s, but no one attended except myself. Hunt had to take advantage of the moonlight night for his picture of _Christ at the Door_.... The only change in domicile that has taken place since I dropped this journal is that Gabriel and I now have Chambers overlooking the river at Blackfriars Bridge, 14 Chatham Place.... I should not have forgotten to premise that, though both Præraphaelism and Brotherhood are as real as ever, and purpose to continue so, the P.R.B. is not and cannot be so much a matter of social intercourse as it used to be. The P.R.B. meeting is no longer a sacred institution--indeed is, as such, well-nigh disused; which may explain the quasi-non-attendance at Stephens’s. And the solemn code of rules which I find attached to these sheets reads now as almost comic.[270] In fact it has been a proof of what Carlyle says in one of his _Latter-day Pamphlets_, that the formulation of a purpose into speech is destructive to that purpose--for not one of the new rules has been acted on, and the falling off of that aspect of P.R.Bism dates from just about the time when those regulations were passed in conclave.

Sunday 23rd to Saturday 29th.--Gabriel finished and sent off the _Annunciation_ picture. It has now lost its familiar name of “The Ancilla,” the mottoes having been altered from Latin to English, to guard against the imputation of “popery.” He is now possessed with the idea of bringing out his translation of the _Vita Nuova_,[271] revised and illustrated. He had intended photographed designs a short time ago, but now again purposes etchings.

FOOTNOTES:

[148] This pen-and-ink design was quite different from the water-colour which Dante Rossetti afterwards executed of the same subject. The design was sold in 1898 among other works which had remained in the hands of Sir John Millais up to his death.

[149] This design (we all considered it a very fine one, and with good reason) represented the spoliation of the grave of Queen Matilda, wife of William the Conqueror. It was included in the Millais Exhibition of 1886.

[150] About this poem I remember now next to nothing. I suppose it was never finished.

[151] No doubt the poem named _Dante at Verona_.

[152] From a song in Browning’s _Pippa Passes_.

[153] Cottingham was an architect, who first came into our circle by offering to buy Rossetti’s earliest picture, _The Girlhood of Mary Virgin_. He never did buy it, and his transactions with the P.R.B. were considered anything but satisfactory.

[154] It will be understood that the year 1849, to which the beginning of this Journal belongs, was the first year when pictures pertaining to the “Præraphaelite” movement were exhibited. Hunt’s picture was _Rienzi Vowing Revenge over his Brother’s Corpse_; Millais’s was the _Lorenzo and Isabella_ (from Keats), now a leading ornament of the Walker Art Gallery in Liverpool. Though that distinguished authority, _The Court Journal_, was thus contemptuous, the general tone of press-opinion regarding the Præraphaelite pictures of 1849 was moderate and sometimes laudatory; the systematic abuse developed in 1850.

[155] The first beginning of _My Beautiful Lady_.

[156] Edward L. Bateman, the Decorative Artist, who, not long afterwards, emigrated to Australia. Bernhard Smith contemplated at this time emigrating to America. He relinquished that project, but went to Australia towards the same date as Mr. Bateman.

[157] Two poems in Mr. Patmore’s first volume, published in 1844. Dante Rossetti read the volume soon after publication, delighted in it much, and must have introduced it to other P.R.B.’s.

[158] This was not done.

[159] Lowes Dickinson.

[160] This would be the room appropriated to my brother and myself at the top of our family residence, 50 Charlotte Street, Portland Place. It was certainly an anti-luxurious apartment, but we had of course the run of the rest of the house.

[161] These are two paintings by Hunt; they may have been finished, or may not.

[162] Augustus Leopold Egg, the R.A. painter.

[163] William North, author of _Anti-Coningsby_, and of some other novels etc.

[164] This project, as will be seen, resulted in the publication of _The Germ_.

[165] Mr. Orchard was a young painter, of very feeble physique, whose brief and harrassed term of life barely allowed him to do more than show that there was something in him much beyond the commonplace. I have a faint recollection of one exhibited picture which I believe to have been his--_Thomas à Becket escaping from England_.

[166] _The Girlhood of Mary Virgin._ It had been exhibited in this same year, 1849.

[167] Of this song no trace now remains. It had not, I think, any definite relation to his English poem, written ere now, _My Sister’s Sleep_.

[168] Must be the same as _On the Refusal of Aid between Nations_.

[169] My brother did not ever paint these subjects, as forming “side pieces” in a larger composition. He did however, at a later date, paint an important water-colour named _The House of John_ (the second proposed subject); and I believe that, soon after our present date in 1849, he executed the first subject also, though I do not recollect it.

[170] Something has been torn away here. The passage relates to Charles Wells, and his drama of _Joseph and his Brethren_. The narrator was William Smith Williams, who preceded myself up to November 1850 as art critic to _The Spectator_, and who, as literary adviser of Messrs. Smith and Elder, secured the publication of _Jane Eyre_.

[171] The book entitled _Stories after Nature_. The proposal of republication with etchings &c. did not take effect.

[172] Afterwards named _Democracy Downtrodden_.

[173] I was now at Cowes, along with James Collinson; soon afterwards at Ventnor by myself. The blank-verse poem which I composed is the one which, in 1868, got published under the title of _Mrs. Holmes Grey_.

[174] Not executed.

[175] A sculptor then of some mark and promise.

[176] The poet, Coventry Patmore. This is the first mention of him (as a matter of personal acquaintance) in my journal. I am not now quite sure how Woolner came to know of him, but think it may have been through Mr. Vom Bach, a Russian gentleman who had some employment in the British Museum, to which Mr. Patmore also belonged.

[177] This was not done.

[178] The composition of _Kate the Queen_ included various figures of women occupied in tapestry or embroidery work.

[179] I was then writing, or intending to write, for _The Germ_, a review of Clough’s poem named _The Bothie of Toper-na-fuosich_.

[180] In Oxford.

[181] He did so--the picture currently termed _The Carpenter’s Shop_.

[182] A Phrenologist, then well known.

[183] There is a gap before these words, I think it was Hunt and my brother who, with Stephens, looked over the house--being the same house which, after an interval of thirteen years, my brother actually tenanted.

[184] One sonnet thus entitled has been already named. It had apparently been intended to use the same title as applicable to a series.

[185] Another poem begun by Woolner. It remained, I think, a mere fragment.

[186] John Harris was a painter of some promise, who about this time took a great interest in Egyptian antiquities. His face is very exactly reproduced in Millais’s picture of _Lorenzo and Isabella_--the brother who is kicking out at a dog. He died towards 1853.

[187] The blank-verse poem previously mentioned. In 1849 it went under the name of _A Plain Story of Life_.

[188] Major Calder Campbell, a retired officer of the Indian army and light _littérateur_, was a very cordial friend of my brother and myself in youth.

[189] In the picture of _Ferdinand lured by Ariel_.

[190] Hereabouts comes a tatter of the MS.

[191] This is somewhat noticeable. Patmore, who became a fervent Roman Catholic towards 1863, was in 1849 a strict and indeed prejudiced Protestant.

[192] The picture referred to is, I suppose, the _Lorenzo and Isabella_.

[193] Is this performance at all remembered now? The engraving from it (a very poor engraving from a very poor picture) was endlessly popular in its day.

[194] The Virgin’s Death was never painted.

[195] I think this was the grotesque poem named _An Incident in the Siege of Troy_, published in _The Germ_.

[196] This was an early work by Woolner; I should say a good one, and easy to “understand.”

[197] Mr. Thomas had presented me on 4 December with a list of no less than 65 alternative titles. The MS. list was reproduced in 1897 in the book, _Letters of Dante G. Rossetti to William Allingham_.

[198] North has been already mentioned. Clayton is John R. Clayton, then a young painter, and now for many years senior partner in the Glass-painting firm Clayton and Bell. Bliss was a son of a Q.C. and had some literary tendency: he emigrated not long after this date.

[199] I wrote the sonnet--don’t now recollect it. The picture was exhibited, not at the British Institution, but at the Royal Academy.

[200] This gentleman was correspondent in London to some American journal or journals.

[201] A poem by Collinson, published in _The Germ_, No. 2.

[202] The etching which Collinson executed for his poem _The Child Jesus_.

[203] It did not come in.

[204] He was in fact the son of this gentleman.

[205] As I have said elsewhere, this was a name bestowed by Madox Brown upon Mr. Samuel Carter Hall, then Editor of the _Art Journal_. Brown intended thus to mark the extreme decorum of appearance maintained by Mr. Hall, whose face, it may be added, was a very fine one.

[206] John Abraham Heraud, a Poet and writer then of some note, author of _The Descent into Hell_.

[207] _i.e._ My criticism of Arthur H. Clough’s poem _The Bothie of Toper-na-fuosich_.

[208] I don’t now remember about these poems. Some verses of mine had at an earlier date, 1848, been published in _The Athenæum_.

[209] George Patten A.R.A. was a painter of some elevation of aim, but not a successful executant.

[210] A tolerably clear indication of the fact that money was not plentiful among the members of the P.R.B.

[211] F. S. means Frank Stone, a painter to whose style of work the P.R.B. were much opposed. He was said, and I believe with truth, to be, at or soon after that time, the Art-Critic of _The Athenæum_; a paper which shortly became very hostile to the P.R.B., but which had not as yet, I think, said anything in their disfavour--rather the contrary.

[212] The brother here in question is Alexander Tupper--not John Lucas Tupper, who did not belong to the printing firm.

[213] _Jane’s Portrait_ (or _Mary’s Portrait_, as it was sometimes called) is the poem which, under the title of _The Portrait_, was published in Dante Rossetti’s volume of 1870. It was to a great extent re-written before publication.

[214] I have no recollection of the poem _Hubert_.

[215] It appeared in _The Germ_ under the title _Repining_.

[216] This second paper did not come out, and I know nothing further of it. Pity that the opportunity of printing it did not occur. Another thing which did not come out (indeed it was not written) was the projected review, as mentioned above, of W. B. Scott’s _Life of David Scott_.

[217] These designs, a series, had been done some years before--very forcible compositions. They were purchased towards 1890 by Sir Henry Irving.

[218] No trace of this is extant; I perhaps never saw it.

[219] Strange as it may seem to some readers, Dante Rossetti had a strong liking for hair of so vivid and positive a tint that most people would call it red.

[220] A sketching club, to which Hunt, Millais, Dante Rossetti, and others (besides Collinson himself), had belonged.

[221] This was a painter named Rainford, whom Hunt and my brother had found in the house where they took a joint studio in 1848. He was then a slap-dash (or, as we called it, sloshy) painter, but got converted to the minute detail of the P.R.B. movement.

[222] These are the opening words of the grotesque poem (published in _The Germ_) named _An Incident in the Siege of Troy_.

[223] This resulted in _The Angel in The House_.

[224] Matthew Arnold’s poem.

[225] Now called _St. Agnes of Intercession_.

[226] I have not now any recollection of Mr. Harston’s poems, have h at all survived the interval since 1850?

[227] No such notice was written. Some research was made for MSS. etc. left by Orchard, but nothing worth speaking of was found. Dr. W. C. Bennett (the Ballad-writer), who had been a neighbour of Orchard in the Greenwich district and an intimate of his, took part in this research.

[228] A professional model.

[229] As I have said elsewhere, we had a fancy for mispronounced “Germ” as “Gurm.”

[230] Angus B. Reach, a popular light writer of those days, and Alexander Munro the sculptor.

[231] An assault, but hardly a savage one.

[232] It was written, I think, by Dr. Waagen.

[233] The words in brackets indicate some flaw in the letter.

[234] I think it was my brother who fixed upon Deverell as a P.R.B. But the nomination was not fully ratified by others, and it cannot be said that Deverell, who died at an early age, was ever absolutely a P.R.B.

[235] The work in question (the most important which Deverell painted) was the subject from Shakespeare’s _Twelfth Night_, recently reproduced in Mr. Percy Bate’s handsome volume _The English Præraphaelite Painters_.

[236] Mr. Cayley had lately been a pupil of my father for Italian.

[237] This was the pseudonym (for some burlesque ballads &c.) of Sir Theodore Martin.

[238] The large Chaucer picture.

[239] _i.e._, A notice, which was printed in _The Critic_, of the first poetic volume of William Allingham.

[240] Charles Allston Collins.

[241] Wells is an interesting literary figure, and one of whom personally next to nothing seems to be known. I preserve this passage with the strong expressions used by his Brother-in-law; but of course I in no way commit myself as to the statements made, which may have been erroneous for anything I am aware of. The allegation regarding Thomas Keats is not wholly new.

[242] I believe this was not done.

[243] J. D. Harding, a dexterous landscape painter, mostly in water-colour.

[244] This is, of course, _The Burden of Nineveh_.

[245] This must have been a mistake.

[246] Now lost, I am sorry to say. I forget what may have been the subject of this parody of Poe’s strangely haunting poem.

[247] Now known by a different name, _Borgia_.

[248] _Denys Shand_ may possibly have been sent: it still remains unpublished.

[249] He (as it happened) was the father of the William North mentioned previously.

[250] Mrs. Emily Patmore, in whose honour was written _The Angel in the House_. Mrs. Orme was her sister.

[251] The design was, I think, _A Marriage Before the Flood_, representing the nuptial feast, and one of the guests, on looking out of window, startled to see the portentous first beginning of the storm--a very fine thing indeed. The “picture” must be the one from _The Woodman’s Daughter_, by Patmore.

[252] The Rossetti family had moved from No. 50 Charlotte Street to No. 38 Arlington Street, Mornington Crescent.

[253] This “declaration” appears to have been lost this long while past. I fancy that none of the other P.R.B.’s wrote any declaration. Had they done so, the papers would now be very interesting documents.

[254] Mr. Woolner did not get the commission, although his thoughtful and able design was very generally approved.

[255] She was a professional model.

[256] This resulted in the small oil-picture _The Bridesmaid_.

[257] Mr. James Lennox Hannay, for many years a Police-magistrate, now retired.

[258] This was Mr. Chorley, the musical critic of _The Athenæum_.

[259] Widow of William Collins, R.A., and mother of Charles Allston Collins.

[260] George Jones, R.A., was an old-fashioned painter of military and scriptural subjects. He was Keeper of the Academy, and as such was at the head of the Antique School, and may have been instructor to Millais in the days of his boyish prowess. “Mrs. Jones” (it will be understood) was the spouse of Jones, R.A.

[261] This subject was not painted.

[262] Behnes had at one time had Woolner in his studio, and had given him some sculptural training.

[263] _i.e._ A notice, written by my brother, of Hunt’s picture; it was offered for insertion, and actually inserted, in my notice of the Academy Exhibition in _The Spectator_.

[264] I do not distinctly remember about this minor monument.

[265] Now Mrs. Masson, wife of the Historiographer for Scotland.

[266] Christened (at my suggestion) _Rosso-vestita_.

[267] _The Proscribed Royalist._

[268] This was not painted.

[269] He was there, I believe, only a short time.

[270] The rules are printed in my _Memoir of Dante Rossetti_.

[271] This only came to effect in 1861, and there were no designs.

INDEX.

A., Miss, 59

Albany Street, 166, London, 182

Albert, Prince, 200

Alleyn, Ellen (see Rossetti, Christina G.)

Allingham, William, 5, 256, 282, 283

America, 211, 236, 246

Amherst, Lord, 24

Ansted, Professor, 82, 86

Anthony, W. Mark, 73, 75, 77, 81, 100, 108, 112, 121, 156, 176,
271, 284

” Stratford Church, by, 157

” Village Festival, by, 81

Arlington Street, 35, Camden Town, 51

Arlington Street, 38, 292

Art Journal, 105, 250, 264

Art-Union, The, 69, 87

Artist, The (Magazine), 35

Ashley, Mrs., 82, 85, 96, 98, 101

Athenæum, The, 245, 251, 255, 268, 274, 298

Atkinson, Miss, 198

Atwell, Miss, 231

Australia, 5, 33, 144, 149, 211, 307

Austria, 141

Aylott and Jones, 220, 221, 244, 246, 248, 249, 252, 253, 254, 256,
258, 270

Bach, Vom, 221

Bacon, Lord, 179

Bailey, Philip J., 229

” Angel World, by, 262, 265

” Festus, by, 265

Baily, E. H., 102, 166

” The Graces, by, 102

Baldung, 148

” Head of Senator, by, 148

Baltic Sea, 140

Bamford, Samuel, 85, 93, 94, 146

Bamford, William, 150, 152

Barbe, 65, 246

Barcelona, 5

Barker, 105

Barnet, 121, 122, 194

Barraud, Henry, 234

” “We praise Thee, O God,” by, 234

Bate, Percy H., 276

” English Præraphaelite Painters, by, 276

Bateman, Edward L., 32, 33, 34, 211, 244, 265, 307

Bath, Marchioness of, 216

Battersea Fields, 269

Bayswater, 231, 242

Beddoes, T. L., 280

” Death’s Jest-Book, by, 280

Bedingfield, 262

Béguinage, Ghent, 16, 17

Behnes, William, 300

” Wordsworth Model by, 300

Belfast, 5, 158

Belgium, 12, 222

Bellamy, G., 249, 257

Bellamy, Senr., 248, 249, 257

Bennett, Dr. W. C., 270

Best, Judge, 54

Birmingham, 96, 303

Black Sea, 140

Blackwood’s Magazine, 281

Blake, William, 44

” Innocence and Experience, by, 44

Blanchard’s Restaurant, London, 176

Bliss, 240

Board of Trade, 152, 162

Boddington, 52, 303

Bodichon, Mrs., 46, 47

Bon Gaultier (see Martin, Sir Theodore)

Bond Street (New), London, 80

Bonington, 170

Borrowdale Pass, 96

Boyce, George P., 183

Boyce, Miss (see Wells, Mrs. H. T.)

Brent River, 124, 125, 126, 129, 130, 132

Bricklayers’ Arms Tavern, 86

Bristol, 112

British Artists, Society of, 73, 271

British Institution, 53, 84, 152, 154, 163, 244, 247, 254, 255

British Museum, 62, 77, 221, 232, 257

British Quarterly Review, 226

Brittany, 218, 222

Bromley, John, 81

Bromley, Miss Helen, 145, 184

Bromley, Mrs. Helen, 64, 82, 184

Bromley, Sir Richard M., 72

Brompton, 19, 229, 242, 245

Brontè, Charlotte, 217

” Jane Eyre, by, 217

Brown, Catharine (see Hueffer)

Brown, Dr. John, 160

Brown, Elizabeth, 51, 65, 72, 78, 82, 196

Brown, Emma, 35, 44, 45, 46, 64, 106, 107, 109, 111, 112, 113,
116-119, 124, 126, 127, 130, 131, 134, 143, 144, 145,
147-153, 146, 149, 160, 163, 164, 168, 170, 173, 175, 180,
182, 183, 186, 187, 188, 191, 193, 197

Brown, Emma Lucy (see Rossetti, E. Lucy)

Brown, Ford Madox, 26, 27, 29-32, 34, 36, 37, 40, 43, 44, 46,
51-202, 213, 216, 225, 239, 246, 248, 250, 255, 259, 261,
263, 266, 269, 270, 280, 281, 282, 286, 297, 299, 302, 305

” Adam and Eve, by, 54

” Baby, Lithotint, by, 114

” Beauty before she knew the Beast, by, 105, 116, 125-129, 148,
149, 163, 193

” Bonnie Doune, by, 52, 53, 54, 60

” Brent (The), by, 125, 129, 130, 132, 149, 163, 185

” Bromley, John, Portrait of, by, 97

” Bromley, Julia, Portrait of, by, 96, 97

” Brown, Ford (senr.), Portrait of, by, 201

” Brown, Lucy, head of, by, 78, 81, 97, 104

” Brown, Oliver M., Portrait of, by, 160

” Carrying Corn, by, 125, 130, 134, 139, 142, 143, 149, 165,
175, 185

” Casey, Portrait of, by, 94

” Chaucer at Court of Edward III, by, 63-76, 81, 93, 94, 95,
97, 103, 104, 105, 107, 108, 109, 112, 115, 117, 152,
163-169, 185, 187, 199, 280, 282, 286, 287

” Christ Washing Peter’s Feet, by, 110, 115, 116, 117, 150, 151

” Cordelia and her Sisters, Etching by, 106, 261, 267, 268, 270

” Do. Watercolour by, 113, 114, 167, 170, 175

” Cordelia at Bedside of Lear, by, 98-102, 104, 113, 114, 117,
183, 198, 201

” Cromwell on his Farm, by, 195

” English Autumn Afternoon, by, 111, 113, 114, 152, 154, 163,
164

” English Fireside, by, 110, 111, 113, 114, 126, 152, 155, 164,
165, 166, 168, 170, 171

” Fenton’s dead Child, Portrait of, by, 106

” Girl, Studies at Southend, by, 114, 126, 149, 163, 168, 171

” Hampstead, Sketch by, 200

” Hayfield, The, by, 189, 193, 197, 198, 201

” Helen Bromley in Death, by, 184

” Horse, Early Study by, 201

” Infant’s Repast, by, 96, 97, 98, 100, 101, 104, 112, 117

” Justice, by, 51, 54, 55, 57, 59, 60, 169, 193

” King Lear, Designs by, 261

” King Lear, Etching by, 114

” Last of England, by, 112, 113, 124, 125, 126, 129, 130, 133,
143, 144, 147, 148, 152, 153, 154, 165, 168, 170-175,
177-187, 189, 191-196, 199

” Lord Jesus, by, 105, 107

” Love of Beauty, Sonnet by, 239, 241, 243

” Mechanism of Historical Picture, Essay by, 246, 248, 252, 261

” Old Woman, Early Head by, 201

” Our Lady of Saturday Night, by, 112, 123, 131, 145, 146, 165,
175

” Parisina, by, 52, 53, 56, 58, 59

” Paul’s Cray Church, by, 110

” Potter, Lithograph of Bust, by, 84, 85

” Pretty Baa Lambs, by, 108-114, 193

” Rossetti, Dante G., Gravecross for, by, 53

” Do. Monument to, by, 53

” Seddon, Portrait of, by, 104, 105

” Seddon, Mrs., Portrait of, by, 109

” Shakespeare, by, 105, 106

” Shorn Ridgway, by, 109

” Thomas’s Lectures, Notice of, by, 96, 97, 98

” Waiting (see English Fireside), by

” Wiclif and John of Gaunt, by, 76, 78-83, 85-94, 96, 108, 109,
112, 114, 146, 167, 170

” William the Conqueror, by, 54, 55

” Winandermere, Lithograph by, 114

” Do. Picture by, 95, 96, 97, 102, 113, 114, 115, 117, 167,
169, 188

” Work, Picture by, 111, 112, 147, 152, 153, 154, 178, 179,
180, 195, 200

Brown, Miss, 66, 69, 71, 77, 87, 144

Brown, Oliver M., 159, 164, 167, 168, 170, 173, 187, 191, 199

Browning, Mrs., 211, 262, 281, 290

” Essay on Mind, by, 263

Browning, Robert, 20, 37, 211, 219, 226, 227, 233, 237, 252, 262,
263, 280, 304

” Christmas Eve and Easter Day, by, 268, 271, 272, 280

” Ghent-Aix, by, 227

” Paracelsus, by, 227, 271

” Pippa Passes, by, 210

” Saul, by, 227

” Sordello, by, 227, 236, 252, 262

” Soul’s Tragedy, by, 227

Bruges, 13, 18, 214

Bruges, Jerusalem (The), 16

Bruges, Royal Academy, 15

Brussels, 224

Builder, The, 96, 97, 98

Bulford, Emmeline (see Seddon, Mrs. Thomas)

Burcham, R. P., 182, 185

Burchett, Richard, 155

Burns, Robert, 64, 229, 232, 234

” Cottar’s Saturday Night, by, 233, 234, 235

Buss, Richard W., 79

Byne, Miss, 107

Byron, Lord, 64, 66, 280

Cambridge, 70

Camden Town Station, 145

Campbell, Major Calder, 231, 250, 253

Campbell, Sonnet (Germ), by 246, 252

Campbell, Mr., 84

” Potter, Bust of, by, 84

Campbell’s Scotch Stores, 176

Carlyle, Thomas, 37, 161, 162, 178, 296, 304

” Latter-day Pamphlets, by, 308

” Miscellanies, by, 199, 200, 201

” Nigger Question, by, 37

Casey, Daniel, 94, 196

” Horsemen abducting a Woman, by, 94

Casey, Madame, 196

Cassels, 280

” Eidolon, by, 280

Cayley, C. B., 185, 194, 280

” Dante translated by, 280, 283

Chamberlayne, Miss, 70, 71, 80

Chapman and Hall, 219

Charlotte Street, 50, London, 102, 213, 292

Chatham Place, 14, London, 25, 26, 31, 32, 124, 308

Chaucer, 62, 63, 77, 305

Chelsea, 229

Chester, 96

Chevalier, G. S., 224

Cheyne Walk, 16, Chelsea, 227, 229

Chorley, H. F., 298

Christie, Mrs., 54

Church End, Finchley, 113, 132

Church Mason Society, 68, 84

Clapham Common, 109

Clapp, Henry, 245, 246, 257

Claude de Lorraine, 156

Claxton, Marshall, 59, 74

Clayton and Bell, 240

Clayton, J. R., 240

Clement’s Lane, London, 270

Clipstone Street, London, 67

Clough, Arthur H., 225, 251

” Bothie of Toper-na-fuosich, by, 239

Coats, Mrs., 112

Cole, Sir Henry, 153, 154, 155, 157, 158

Collins, Charles A., 5, 27, 172, 176, 264, 283, 291, 297

” Convent Thoughts, by, 297, 301-304

Collins, Mrs., 298

Collins, William, 298

Collinson, James, 12, 206, 209, 215, 220, 223, 227, 231, 236, 246,
247, 248, 251, 256, 264, 269, 275, 307

” Child Jesus, Etching by, 247, 251

” Do., Poem by, 246, 252, 256

” Emigrant’s Letter, by, 223, 231, 273, 275

” Novitiate, by, 264

” St. Elizabeth of Hungary, by, 236

Colney Hatch, 117

Combe, Thomas, 278, 303

Constable, John, 176

Cooper (Actor), 71

Cooper (Carpenter), 66

Cottingham, 210, 213, 214, 219, 220, 221

Coulton, 91, 100

Court Journal, 210, 211

Cowes, 220

Cox, Edward J., 253, 254, 255, 280

Crimea, The, 86, 162

Critic, The (Review), 253, 255, 257, 261, 270, 280, 294

Cromwell, Oliver, 163

Cross, John, 145, 200, 232, 234, 265

” Death of Cœur de Lion, by, 145

Crystal Palace, 185

Cumberland, 95

Cumberland Market, London, 198

Cundall, 274

Curci, Dr., 6, 7

Cushman, Miss, 71

Cyclographic Society, 264

Daily News, 274

Dallas-Glyn, Mrs., 198, 252

Danby, Francis, 84

” Calm after a Storm, by, 84

Dante, 100, 267

” Vita Nuova, by, 305

Danubian Principalities, 140

David, Gerard, 12

” Cambyses and Unjust Judge, by, 12, 15

Davy, 294

Dead Sea, 159

Deighton, Thomas, 109

Delf, Thomas, 35

Deverell, Walter H., 5, 26, 41, 104, 220, 227, 229, 239, 245, 272,
276, 277, 291, 294, 295

” Claude du Val, by, 277

” Egyptian Ibis, by, 277

” Hamlet Banished, by, 277, 291, 295

” James II. and Fishermen, by, 277

” Laertes and Ophelia, by, 277

” Olivia and Viola, Etching by, 272

” Rosalind and Orlando, by, 44, 46, 277

” Sight (The) Beyond, Poem by, 253

” Twelfth Night, by, 276

Dibdin, 74

Dickens, Charles, 5

” Household Words, by, 274

Dickinson, Lowes, 157, 178, 179, 295, 213, 246, 261, 281

Dickinson, Messrs., 80, 105, 108, 114, 157, 261, 270, 282, 287

Dickinson, Robert, 144, 162, 163, 167, 199, 269

Dispatch, The (Newspaper), 248

Donovan, 226

Dover, 111

Drury, 225

Dundas, Admiral, 140, 141

Durer, Albert, 148, 301

Dyce, William, 137, 148, 197

” Christabel, by, 183

Earl, 288

” Nature and Art, Design by, 288, 293

Eastlake, Sir C. L., 285, 297

Edward the Black Prince, 63

Edward III., 63

Egg, Augustus L., 213, 214

Egypt, 43, 158

Elcho, Lord (see Wemyss)

Elizabeth of Bohemia, 8

Elliott, 89, 99, 107

Ellison, 264

English Academy, Rome, 62

Ensgrubber, Miss, 82

Eskdale, 96

Etty, William, 51, 52, 53

” Robinson Crusoe, by, 123, 170

Ewell, 216

Examiner, The, 186, 274, 281

Farrer, 273, 294

Faucit, Helen (see Martin, Lady)

Fenton, Roger, 86, 106

Fielding, Copley, 85

Finchley, 37, 45, 171, 197

Finchley Road, London, 194

Fletcher, 294

Foggo, 74

Foley, J. H., 80

Foot’s Cray, 109

Fores, 294

Fortess Terrace, London, 196, 197

Fowke, Captain, 162

France, 222, 285

Fraser’s Magazine, 218

Free Exhibition, The, 74, 75, 77, 79, 87, 91, 92, 93, 101, 281

Frost, W. E., 84

Garrick, David, 197

Gavarni (see Chevalier)

Genoa, 39

Germ, The, 18, 106, 113, 214, 215, 220-223, 225, 226, 228, 231,
232, 235, 236, 237, 240-254, 256-259, 261, 262, 264, 265,
266, 272, 273, 284

Ghent, 16, 201, 214

Gibbons, 213, 214, 278

Glasgow, 113

Gloucester, Eleanor, Duchess of, 120

Gloucester, Humphrey, Duke of, 120

Glyn, Miss (see Dallas-Glyn)

Godwin, William, 77
” Life of Chaucer, by, 77

Goethe, 201

Golder’s Green, 157

Goldsmith, Oliver, 71
” She Stoops to Conquer, by, 71

Grant, Sir Francis, 53

Gravesend, 64, 66, 71, 77, 78, 79, 81, 96, 98, 102, 145, 149, 184,
270

Gray’s Inn Road, 104

Green, 29

Greenside, 96

Greenwich, 81, 101, 144, 184

Grundy, 110

Guardian, The, 288, 303

Hall, S. Carter, 105, 250

Hallam, Arthur, 227

Halliday, Michael F., 182

Hampstead, 35, 38, 43, 65, 111, 112, 123, 130, 133, 143, 153, 154,
157, 163, 164, 175, 180

Hancock, John, 220, 239, 266

Hannay, James, 5, 19, 27, 28, 43, 257, 281, 299

Hannay, J. Lennox, 296

Harding, J. D., 287

Harris, John, 230, 291

Harston, Rev. Mr., 268

Hastings, 47, 51, 261

Hatfield, 117, 121

Haydon, Benjamin R., 116, 133, 156, 169, 181

Haynes, 220

Hendon, 113, 124, 128, 145, 147, 158, 160, 180, 197, 198

Heraud, J. A., 250
” The Descent into Hell, by, 250, 251

Herbert, J. R., 183
” Lear and Cordelia, by, 183

Hervey, T. K., 251, 252, 262

Hewlett, 90

Highgate, 36, 77, 112, 150, 180

Highgate Archway, 149, 150

Highgate Cemetery, 65, 69, 82, 84

Hill, Mrs., 127, 160, 173

Holbein, 254

Holborn, 71

Holloway, 144

Holst, Theodore Von, 176

Hook, J. C., 285, 287

Horne, R. H., 265

Houses of Parliament, 51, 169, 182

Howard, Frank, 51, 52, 58

Howitt, Mary, 33, 44, 45, 47, 94, 198

Howitt, William, 94, 198, 307

Howitt-Watts, Anna M., 44, 198
” Gretchen at the Well, by, 44, 46

Hueffer, Catharine, 106, 109, 122, 126, 128, 133, 134, 144, 145,
151, 158, 170, 171, 172, 187

Hueffer, Ford M., 60, 106

Hueffer, Life of Madox Brown, by, 60, 61

Hughes, Arthur, 182, 195
” April Love, by, 195

Hunt, senior, 182

Hunt, William Henry, 182

Hunt, William Holman, 12, 17-21, 23, 24, 26, 27, 33, 43, 95, 102,
108, 158, 159, 172, 201, 205, 209, 210, 213, 214, 216, 218,
219, 222-225, 227, 229-232, 235, 242, 243, 245, 248, 249,
261, 262, 264, 265, 269, 274, 279, 282, 283, 287, 288, 289,
291, 292, 295, 299, 300, 302, 306, 308

Hunt, Christian Missionary and Druids, by, 210, 212, 214, 219, 249,
264, 266, 269, 271, 273, 275, 278, 303
” Claudio and Isabella, by, 278, 289, 306
” Hireling Shepherd, by, 306
” Keats’s Isabella, Design by, 212, 279
” Lady of Shalott, by, 279
” Light of the World, by, 32, 33, 306, 308
” Morning and Evening, by, 213, 219
” My Beautiful Lady, Etching by, 232, 235, 242, 243, 244
” Our English Coasts, by, 306
” Rienzi Swearing Revenge, by, 211, 213, 216, 278, 297
” Ruth and Boaz, by, 279
” Valentine and Sylvia, by, 278, 282, 289, 292, 296, 297, 301,
302, 303

Hurlstone, F. Y., 73

Hyde Park, 195

Illustrated London News, 273

Inchbold, J. W., 183

India, 166, 167, 175, 192, 195

Inskip, 84

Ireland, 72

Irving, Sir Henry, 261

Irving, Washington, 163
” Life of Washington, by, 163

Isle of Wight, 108

Islington, 150

Italy, 157

James I., 8

Jehoshaphat, Valley of, 159

Jersey, 277

Jerusalem, 158, 159, 279

John Bull (Newspaper), 248, 257

Jones, Anna, 184

Jones, George, 298

Jones, Mrs. George, 298

Jones, William, 184

Jullien, 199

Keats, John, 95, 234, 285

Keats, Thomas, 284, 285

Kentish Town, 158

Keswick, 96

King’s Road, London, 66

Knight, Charles, 69

Knowle Park, 24, 278

Kotzebue, 71
” The Stranger, by, 71

Krone, 90

Lady Nugent (ship), 146

Lambert, 271

Lambeth Palace, 289

Lance, George, 84

Landseer, Sir Edwin, 53

Lapland, 141

Latrobe, Governor, 41

Lawrence, 70, 72

Lee, Mrs., 107

Leicestershire, 6

Leighton, Lord, 181
” Cimabue Procession, by, 181, 183

Leslie, Charles R., 85, 297

Lewis, 77
” Life of Wiclif, by, 77

Limehouse, 172

Lippi, Lippo, 148
” Vision of St. Bernard, by, 148

Liverpool, 96, 110

London and Westminster Bank, 180

Longfellow, H. W., 18
” Belfry of Bruges, by, 18

Louvre, The, 224

Love, Miss, 271

Lowell, J. R., 231

Lucy, Charles, 51, 55, 56, 57, 60, 61, 65, 67-70, 72, 74-81, 84,
86, 90, 94, 95, 99, 100, 101, 105, 107, 109, 114, 195
” Cromwell and his Daughter, by, 55, 195
” Nelson on the Victory, by, 55
” Pilgrim Fathers, by, 77

Lucy, Mrs., 55-58, 67, 68, 78, 90

Lyons, Captain, 141

McCracken, Francis, 5, 30, 32, 33, 34, 43, 108, 112, 114, 308

McDowall, Miss, 295

McDowell, Patrick, 201

MacIan, Mrs., 53

MacIan, R. R., 53

Mackintosh, Sir James, 62
” History of England, by, 62

Maclise, Daniel, 62
” As You Like It, by, 183
” Spirit of Chivalry, by, 62

Maddox Street, London, 80, 81, 113, 166

Madox, 85, 91, 165, 166, 179

Maitland, 86, 89, 93, 99, 100, 103, 107, 235, 240, 243, 244

Manchester, 56, 102, 113

Manchester Exhibition, 95, 188

Margate, 104

Marlboro’ House, London, 162, 163

Marshall, John, 5, 66, 73, 83, 84, 86, 91, 99, 104, 107, 109, 112,
179

Marston, J. Westland, 251, 252, 262, 263

Martin, J. F., 74, 75, 76

Martin, John, 51, 52

Martin, Lady, 286

Martin, Sir Theodore, 281
” Bon Gaultier’s Ballads, by, 281

Martineau, Robert B., 182
” Taming of the Shrew, by, 183

Mary (servant), 171, 172

Masaccio, 148

Masson, Mrs., 306

Mattia di Giovanni, 148
” Ecce Homo, by, 148

Maude, Mr., 306

Maurier, George du, 4

Medwin, Thomas, 239
” Conversations with Byron, by, 239

Melbourne, 34, 41, 307

Memling, Hans, 13, 14, 16, 18
” Triptych in St. John’s Hospital, by, 14, 15
” Virgin and Child, by, 15

Middlesex Hospital, 140

Mill Hill, 128

Millais, Sir John E., 26, 28, 35, 110, 172, 175, 176, 177, 179,
181, 182, 185, 187, 205-213, 218, 225-232, 234, 238, 242,
243, 244, 246, 247, 254, 256, 260, 264, 268, 274, 267, 283,
288, 290-295, 298, 302, 303, 306
” Bridesmaid, by, 170, 295
” Caen Nunnery, by, 209, 210, 212
” Carpenter’s Shop, by, 226, 229, 235, 238, 243, 260, 263, 272,
273, 288, 293
” Dove’s Return-Ark, by, 295, 297, 299, 300, 301, 303
” Drury and Grand-daughter, by, 244, 247, 254, 273
” Ferdinand and Ariel, by, 209, 230, 232, 235, 244, 247, 263,
273, 292
” Huguenot (The), by, 169, 207, 306
” Lorenzo and Isabella, by, 95, 104, 169, 211, 229, 230, 234
” Mariana, by, 277, 297, 298, 301, 302, 304
” Marriage before Flood, by, 291, 292
” Ophelia, by, 306
” Proscribed Royalist, by, 307
” Ransom (The), by, 307
” Rescue (The), by, 175, 176, 183
” Waterfall, by, 123
” Woodman’s Daughter, by, 277, 278, 291, 292, 297
” Woolner, Hunt, and Hancock, Heads by, 213

Millais, William H., 232, 243, 277, 288

Miller, John, 32, 33, 44, 46

Mogford, 149

Monti, Raffaele, 185
” Veiled Vestal, by, 185

Morning Chronicle, 300

Moses, 299

Mulready, William, 201, 297, 301

Munro, Alexander, 182, 194, 195, 273

Nancy, 15

Naples, 6

Napoleon I., 135

Napoleon III., 179

National Club, 248

National Gallery, 5, 14, 28, 77, 148, 149

National Institution, 46, 273, 276

National Portrait Gallery, Edinburgh, 160

Negro, Marchese G. C. di, 38, 39

New Road, London, 153

Newman Street, London, 21, 106, 110, 111, 229, 230, 246, 279

Nicholas I., Emperor, 135, 140, 178

Nichols, 102

North British Review, 226

North End, Finchley, 157

North London School of Drawing &c., 32, 33, 105, 106, 111, 162

North (Senr.), 291, 294

North, William, 214, 240, 257, 291
” Anti-Coningsby, by, 214

Northumberland, Duke of, 85

Novalis, 201

Nussey, Charles, 225

Oliver, William, 86

Olympic Theatre, 199

Omar Pasha, 135

Orchard, John, 214, 216, 267, 269, 270
” Dialogue on Art, by, 260, 262, 267, 272
” Thomas à Becket, Picture by, 215

Orme, Mrs., 291

Oxford, 225, 234, 243, 244, 254, 256, 277, 278, 288

Oxford Street, London, 79

P.R.B., 12, 17, 19, 20, 205, 206, 210, 212, 223, 227, 231, 232,
236, 237, 239, 248, 254, 255, 256, 258, 264, 267, 273-276,
282, 283, 284, 289, 290, 292, 293, 295, 297, 298, 299, 300,
302-305, 308, 309

Palestine, 43

Palladium, The, 280, 282, 283

Palmerston, Lord, 200

Pantheon Bazaar, London, 176

Papworth, 166

Paris, 12, 17, 51, 82, 86, 94, 115, 117, 152, 157, 162, 169, 186,
196, 200, 214, 219, 224

Paris, Mr., 80

Patmore, Coventry, 161, 211, 221, 222, 226-230, 232-236, 256, 267,
268, 278, 280, 282, 283, 288, 289, 290, 294, 295, 299, 300,
302, 304
” Angel in the House, by, 161, 267, 291
” Lilian, by, 229
” Macbeth, Essay by, 259, 267
” River (The), by, 210, 229
” Seasons (The), by, 222, 239, 243
” Sir Hubert, by, 212, 229
” Stars and Moon, by, 252
” Woodman’s Daughter, by, 212, 229, 281, 290

Patmore, Mrs., 291

Patten, George, 251

Patterdale, 96

Peahen Inn, St. Alban’s, 118, 119

Pen, The, 43

People’s Journal, The, 94, 146

Percy Street 33, London, 193, 194

Percy’s Relics of Poetry, 8

Phillips, 113

Photographic Exhibition, 31

Physicians, Royal College of, 5, 66

Pickford (or Pickham), 55, 56

Picot, 200

Piedmont, 39

Pierce, Harriet, 7

Place Jean van Eyck, Bruges, 18

Plymouth, 307

Poe, Edgar A., 229, 236
” Raven (The), by, 271
” Tales by, 236
” Ulalume, by, 289

Polidori, Anna Maria, 6

Polidori, Charlotte L., 7

Polidori, Eliza H., 6, 7

Polidori, Gaetano, 8, 39, 42
” A Clori by, 8, 10
” Magion (La) di Terrore, by, 8

Polidori, M. Margaret, 6, 21, 25

Polydore, Henry F., 161

Poole, R. F., 297

Pope, Alexander, 80, 280
” Essay on Man, by, 80

Porbus, 15

Powell, Thomas, 236, 237

Pratts, 98

Princess’s Theatre, London, 71

Prospect Place, 5, Chelsea, 245, 248

Pugin, A. W., 77
” Mediæval Furniture, by, 77

Punch, 304

Queen’s Head Inn, Finchley, 197

Rainford, 264, 265

Raphael, 300, 301

Ravensbourne Wharf, Greenwich, 81, 85, 126

Reach, Angus B., 273

Read, T. Buchanan, 35
” Poems by, 35

Red Lion Square, 17, London, 291, 294, 305

Regent’s Park, London, 7, 67, 80, 83, 85, 90, 95

Rembrandt, 148

Reynolds, G. W. M., 145, 146
” Miscellany of, 146

Reynolds’s Newspaper, 146

Richmond, 69

Rigaud, 278
” Thames and Severn, by, 278, 289

Rintoul, Robert S., 284, 286, 287, 288, 298

Ritchie, 156, 157, 159, 160

Roberson, 109

Robinson, 110

Robson, 199

Rome, 62, 64, 65, 83, 185

Ross, Sir William, 301

Rossetti, Christina G., 6, 7, 42, 45, 135, 246
” Dreamland, by, 240, 243
” End (An), by, 242, 243
” Pause of Thought, by, 252
” Repining, by, 259
” Song (Germ), by, 252
” Testimony (A), by, 252, 256

Rossetti, Dante G., 3-47, 66, 67, 74, 89, 93, 95, 97, 100, 101,
102, 104, 116, 124, 144, 147, 153, 156, 172, 94, 205-211,
213-225, 27-242, 244, 246, 247, 248, 250, 251, 253, 256, 257,
259, 270, 272-275, 277, 279, 282, 283, 287-295, 299, 302,
304-309
” Annunciation, The, (or Ecce Ancilla Domini), by, 28, 29, 30,
232, 235, 238-242, 244, 246, 250, 253, 256, 261, 265, 268,
271, 272, 275, 289, 290, 308, 309
” Beatrice at Marriage-feast, by, 306
” Between Ghent and Bruges, by, 12
” Blessed Damozel, by, 250, 251, 253, 256, 262
” Borgia, by, 290
” Bower Meadow, by, 22
” Bride’s Prelude (or Bride-Chamber Talk), by, 12, 17, 229,
235, 237, 242, 253, 268
” Burden of Nineveh, by, 43, 44, 287
” Carillon (The), by, 18
” Dante and Beatrice in Earth and Eden, by, 22, 23, 24, 32, 33,
282, 287, 305
” Dante at Verona, by, 210, 258, 260, 262, 282
” Dante drawing an Angel, by, 209
” Dante’s Vita Nuova, translated by, 219, 258, 289, 309
” Denys Shand, by, 290
” Early Italian Poets, by, 282, 287, 292, 295, 309
” Family Letters of, 36
” Found, picture by, 144, 148
” Giotto painting Dante, by, 32, 33, 238, 306
” Girlhood of Mary Virgin, by, 97, 99, 153, 210, 215, 216, 281
” Hand and Soul, by, 238, 240-243, 260, 266
” Ingres’s Ruggiero and Angelica, Sonnet by, 229
” Kate the Queen, by, 21, 22, 210, 211, 224, 283
” Kraken (The), Parody by, 40, 41
” Letters-Allingham by, 240
” Lines and Music, by, 243
” Mary in House of John, by, 217
” My Sister’s Sleep, by, 216, 237, 243
” Paolo and Francesca, by, 231, 232, 241
” Passover in Holy Family, by, 217, 231
” Poems (1870), by, 258
” Portrait (The), Poem by, 258
” Refusal of Aid between Nations, Sonnet by, 216, 228
” Rosso-vestita, by, 306
” St. Agnes of Intercession (or Autopsychology), by, 268
” Sister Helen, by, 44
” Sœur (La) Morte, by, 216
” Sonnets on Pictures, by, 272
” Sonnets on Trip-France and Belgium, by, 223, 224
” Ulalume, Parody by, 289
” Versailles Sonnets by, 224
” Virgin Mary planting Lily and Rose, by, 217
” Wellington’s Funeral, by, 26, 27
” William and Marie, by, 10, 11

Rossetti, E. Lucy, 58, 60, 61, 64, 66, 77, 78, 96, 102, 104, 110,
113, 127, 133, 134, 139, 145, 150, 156, 170, 175, 184, 186,
187

Rossetti, Elizabeth E., 31, 36, 43, 45, 46, 208
” Lady of Shalott, by, 43
” Portrait of Herself by, 36, 43
” We are Seven, Design by, 31, 32

Rossetti, Frances M. L., 21, 144, 175

Rossetti, Gabriele, 3, 6, 38, 41, 280, 292
” Arpa Evangelica, by, 38, 39, 42

Rossetti, Maria Francesca, 6, 7, 42, 182, 184

Rossetti, William M., 7, 28, 29, 35, 37, 38, 42, 102, 116, 124,
147, 156, 161, 176, 177, 181-185, 205-309
” Arnold’s Strayed Reveller &c., Review by, 253, 268
” Clough’s Bothie, ditto by, 225, 240, 242, 243, 251
” Critic (The), Reviews in, by, 255, 257, 282, 283, 284, 286
” Dante Rossetti, Memoir of, by, 10, 40, 308
” Democracy Downtrodden, Sonnet by, 219
” Fancies at Leisure, by, 252
” Her First Season, Sonnet by, 243
” Mrs. Holmes Grey, by, 220, 223, 230, 231, 247, 253
” Sonnet for The Germ, by, 215, 216
” Spectator (The), Reviews in, by, 286, 299, 302

Rowney, 79

Royal Academy, 36, 66, 85, 102, 107, 108, 112, 146, 168, 172, 174,
175, 178, 179, 181, 182, 183, 205, 226, 229, 244, 254, 272,
273, 274, 284, 297, 298, 301, 305, 306

Rubens, 13, 18

Ruskin, John, 34, 47, 161, 288, 299-302, 304

Ruskin, John J., 300

Russell, Earl (Lord John), 141, 245

Russia, 141

Ruth (Servant), 150

Ryan, Miss, 111

Sadler’s Wells Theatre, London, 197

St. Alban’s, 117, 156

St. Alban’s Abbey, 118, 119

St. John, Hospital of, Bruges, 15

St. Pancras Church, London, 157