University of California Berkeley Purchased as the gift of THE FRIENDS OF THE BANCROFT LIBRARY PR^RAPHAELITE DIARIES AND LETTERS EDITED BY WILLIAM MICHAEL ROSSETTI I SOME EARLY CORRESPONDENCE OF DANTE GABRIEL ROSSETTI 1835-54 II MADOX BROWN'S DIARY ETC 1844-56 III THE P R B JOURNAL KEPT by W M ROSSETTI 1849-53 ILLUSTRATED J'ai voulu tout simplement puiser dans Ventiere connaissance de la tradition le sentiment raisonnt et indtpendant de ma propre individuality GUST w& COURBET 1855 LONDON HURST AND BLACKETT LIMITED 13 GREAT MARLBOROUGH STREET 1900 All Rights reserved VARIOUS PERSONS BELOVED OR CHERISHED BY ME IN DEATH AS IN LIFE STAND ON RECORD IN THIS BOOK WHICH I DEDICATE TO THE MEMORY OF THEM ALL W M R CONTENTS. INTRODUCTION SOME EARLY CORRESPONDENCE OF DANTE GABRIEL ROSSETTI .... Introduction 3 LETTERS FROM DANTE GABRIEL ROSSETTI, i to 20 6 LETTER FROM GABRIELE ROSSETTI, 21 . 38 LETTER FROM DANTE GABRIEL ROSSETTI, 22 . 40 LETTER FROM GABRIELE ROSSETTI, 23 . . 41 LETTERS FROM DANTE GABRIEL ROSSETTI, 24 to 26 43 MADOX BROWN SOME LETTERS, FOLLOWED BY A DIARY ..... Introduction 51 LETTERS i to 6 51 DIARY 1847 * .61 1848 ... . . 79 1849 .... .100 1850 . . . . . 105 1851 . . . . . 107 1852 . . . . . 109 1853 . . . . . 112 1854 . . . . 113 1855 . . . . 152 1856 . . . . . . , 200 THE P.R.B. JOURNAL, 1849-53 . . . Introduction 205 1849 . . 209 1850 . . 244 1851 . . 292 1852-3 . ' . . . .305 LIST OF ILLUSTRATIONS. 1. Christina Georgina Rossetti, Profile by Dante Gabriel Rossetti, Pencil (20 May 1865). A very exact likeness of her at the age of thirty-four . . . Frontispiece 2. The Gravestone of Elizabeth Brown, Madox Brown's first wife, Highgate Cemetery, designed by him. Print taken from a Drawing which he made in Colour-wash. A Grandson of Mr. and Mrs. Brown, Michael Ford Madox Rossetti, who died in infancy in 1883, is now buried in the same Grave To face p. 65 3. Christ Washing Peter's Feet, by Madox Brown, Pencil - sketch for the Oil- picture now in the National British Gallery. The Picture seems to have been begun towards the winter of 1851, and was exhibited in 1852 : this Pencil-drawing is probably the first sketch made to try the com- position ...... no ILLUSTRATIONS continued : 4. Alfred Tennyson reading Maud aloud. Pen-and-ink Sketch by Dante Gabriel Rossetti, 27 September 1855. Details as to this matter are given in my Memoir of Dante Rossetti. Mr. and Mrs. Browning, being then for a while at No. 13 Dorset Street, London, invited a few friends to hear Tennyson read Maud, as he had undertaken. Miss Browning, my Brother, and myself, were present, and perhaps one other. My Brother, unobserved by Tennyson, made a pen-and-ink sketch of him, and gave it to Browning. He also made a duplicate of the sketch, which belongs (or used to belong) to Mr. Cosmo Monkhouse. The present version is a triplicate, which he sent to Miss Elizabeth E. Siddal, then in Paris : she had started (I think only a few days before 27 September) for Paris and Nice, for the sake of her health. This triplicate had re- mained in the possession of the Siddal family until September 1899, when her Brother was so good as to present it to me ...... To face p. 233 W. M. R. INTRODUCTION. THROUGH the agency of various persons, myself not the least active, a considerable bulk of materials about the Praeraphaelite Brotherhood, or P.R.B., has by this time been published. Some of these materials are in the nature of narratives or essays ; others, of documents of old date letters, diaries, and so on. I now offer to the public a further instalment of materials of the second class. This instalment, as the reader will readily perceive, consists of three several things, not directly connected the one with the other, but all bearing upon the Praeraphaelite movement. There is: I. An early correspondence of Dante Gabriel Rossetti, beginning (for curiosity's sake) in April 1835, when he was not quite seven years of age, and going on to March or April 1854, just before the date when my compilation entitled Ruskin, Rossetti, Prceraphaelitism (1899) begins ; and with this are included two letters from our Father. 2. Some letters from Ford Madox Brown to his first Wife, Elizabeth (Bromley), December 1 844 to May 1845, followed by a much longer item, extracts from his Diary from 4th September 1847 to 6th January 1856 : some passages from this Diary, relating to Dante Rossetti and his surroundings, were given in my compilation above-named, and these are, of course, omitted here. 3. Extracts from the P.R.B. Journal, which I, as a member of the Brotherhood acting as its Secretary, kept from I5th May 1849 to 2Qth January 1853. Thus the entire range of dates in this volume is from April 1835 to January 1856; and from 1847 to 1856 it is tolerably detailed and copious. It will be seen that the three constituent parts of this book overlap to a large extent. The most important of the three is as I think most readers will say the writing of Madox Brown. I have given the precedence to the Rossetti correspondence simply because it begins at the earlier date. It seems superfluous for me to write any more here. My object in the present volume (as in one or more that have preceded it) is not to give any continuous narrative or dissertation of my own, but to set forth original documents, with such introductory or annotating matter as may make them plain. Matter of this sort is furnished in connexion with each of the three items which make up the book : and so I leave it in the reader's hands. He may perchance find it informing in some parts, and amusing in at any rate as many. WM. M. ROSSETTI. London. July 1899. P R M R A P H A E L I T E DIARIES AND LETTERS. SOME EARLY CORRESPONDENCE OF DANTE GABRIEL ROSSETT1. SOME EARLY CORRESPONDENCE OF DANTE GABRIEL ROSSETTI. IN the course of some recent researches among old family documents I put together the enclosed specimens consisting of twenty-four letters from Dante Gabriel Rossetti to various persons, 1835 to 1854, and of two letters addressed to him by his father, 1853. I have more than once had occasion to confute a current misconception that Dante Rossetti could be adequately described as a sentimentalist, a dreamer, a mystic, an aesthete, and the like, without allowance being made for a considerable counterbalance of attri- butes of a very opposite character. Certainly he had some sentiment; he dreamed several dreams, asleep and awake; he may have been a mystic (though I never quite understood what a mystic is) ; and he had a passion for art in various forms, and for the word I* 4 DANTE ROSSETTPS LETTERS. " art " we now often substitute the word " aesthetics " a term which Rossetti seldom, if ever, pronounced. But it is not the less true that he was full of vigour and buoyancy, full of elan, well alive to the main chance, capable of enjoying the queer as well as the grave aspects of life, by no means behindhand in con- tributing his quota to the cause of high spirits and generally a man equally natural and genial. In youth these qualities had not been overclouded by some troubles which beset his later years although indeed, like other men, he had at all periods of life his troubles and his glooms. The present correspondence belongs all to the years of his youth; and I think readers will say that, whatever else Dante Rossetti may have been, he was a quick-blooded, downright- speaking man, with plenty of will and an abundant lack of humbug. People who take an interest in him may depend upon it that the more they learn about him of an authentic kind the more will the mascu- line traits of his character appear in evidence, and the less will room be left for the notion of a pallid and anaemic " aesthete," a candidate for the sunflowers of a Du Maurier design. He did not " yearn." All this is said without at all derogating from the fact that in the very essence of his mind and temperament Dante Rossetti was a poet a poet who expressed himself in verse and in form and colour. INTRODUCTION. 5 I have appended several headnotes and one or two footnotes to these letters ; and will only add here a few observations, in the form of a Dramatis Persona, on some persons not otherwise accounted for : John Lucas Tupper, Sculptor, intimate associate of the Praeraphaelite Brothers; a selection of his poems was published posthumously in 1 897. Frederic George Stephens, Student of Painting, P.R.B., now a leading Art-Critic. Walter Howell Deverell, Painter, nominated for election into the P.R.B. Thomas Seddon, Painter : produced the picture of Jerusalem now in the National Gallery. John P. Seddon, Architect. Charles A. Collins, Painter and Author; became son-in-law of Dickens. James Hannay, Novelist and Essayist ; was British Consul at Barcelona in his later years. Francis McCracken, Shipping Agent at Belfast, an early purchaser of " Praeraphaelite " pictures. John Marshall, Surgeon, ultimately President of the Royal College of Physicians. William Allingham, Poet and Essayist. Thomas Woolner, Sculptor and R. A. Bernhard Smith, Sculptor ; he settled in Australia, and there died. 6 DANTE ROSSETTPS LETTERS. LETTER I. DANTE ROSSETTI TO MARGARET POLIDORI, SWITHLAND, LEICESTERSHIRE. This childish epistle from Dante Gabriel would have little or no claim to appear here, were it not for the fact (as noted in a few accompanying words by his mother) that it is " the second letter of his writing the first was to his Grandmother." It is written on lines, in a large text-hand childish, of course, but correctly formed. Dante Rossetti must have been backward rather than otherwise or one might say lazy at letter-writing, for at this date he was close upon seven years of age. I add a second childish letter, of nearly similar date. Margaret Polidori, his eldest maternal aunt, was at this date a governess in Leicestershire ; Eliza Polidori, a younger aunt, addressed in the second letter, lived at home with her parents. 38 Charlotte Street, London. 7 April 1835. Dear Aunt M. Papa has bought two shawls for Maria and Christina. Dr. Curci, a great friend of papa's, came from Naples, and has given Christina a little locket without hair, of the Virgin Mary with Jesus Christ in her arms ; it has a rim of mother-of-pearl. Papa introduced Dr. Curci to a party where there was the Turkish Ambassador, who asked papa to improvise. I remain Your affectionate nephew, GABRIEL ROSSETTI. LETTER II. To ELIZA POLIDORI, HOLMER GREEN, BUCKS. 38 Charlotte Street, London. 9 July 1835. Dear Aunt Eliza, We went to a fancy fair in the Regent's Park, where I bought a box of paints, Maria an album, and Christina two fishes and a hook. The fair was for the benefit of a Charity School. I have been reading Shakespeare's Richard the Third for my amusement, and like it exceedingly. I, Maria, and William, know several scenes by heart. I have bought a picture of Richard and Richmond fighting, and I gilded it, after which I cut it out with no white. My Aunt* came yesterday, and gave Maria a pretty little basket : it was worked in flowers of green card. I remain, my dear Aunt, Your affectionate nephew, GABRIEL C. D. ROSSETTI. * This was probably Charlotte Polidori or possibly the Grand- Aunt, Harriet^Pierce. 8 DANTE ROSSETTPS LETTERS. LETTER III. To GAETANO POLIDORI. This letter appears to have been written in 1843, which was the date of the privately-printed volume by my grandfather (La Magion del Terrore, etc.) con- taining the lyric, A Clori. The first verse of the lyric is " Quante stelle cancella la luna." Polidori's reply is not forthcoming ; but there can be little doubt that Dante Rossetti was right in considering that the Italian poem is a free adaptation of the English one. 50 Charlotte Street, London. [? 1843-] Dear Grandpapa, On returning home yesterday and looking over your volume of poetry, I was greatly surprised at discovering in your ode, A Clori, at page 136, a most singular resemblance to a little poem contained in Percy's Reliques of Ancient English Poetry, it being the same, verse by verse, and sometimes almost word for word. The poem to which I allude is written by Sir Henry Wotton, who lived in the reign of James ist, and is intended as an expression of his admiration for Elizabeth, daughter of that monarch. 1843- 9 It runs as follows : You meaner beauties of the night, That poorlie satisfie our eyes More by your number than your light, You common people of the skies What are you when the moon shall rise ? Ye violets that first appeare, By your pure purple mantles known Like the proud virgins of the yeare, As if the Spring were all your own What are you when the rose is blown ? Ye curious chanters of the wood, That warble forth Dame Nature's layes, Thinking your passion understood By your weak accents, what's your praise When Philomel her voyce shall raise ? So when my mistress shall be seene In sweetness of her looks and mind ; By virtue first, then choyce, a queene ; Tell me if she was not designed Th' eclypse and glory of her kind. The only difference between your composition and the above is, as you perceive, the addition by you of io DANTE ROSSETTPS LETTERS. two stanzas judiciously, I think, inasmuch as they complete the idea. Now I do not for a moment suppose that you have translated these lines and afterwards intentionally inserted them among your original poems; but I should think it possible that you might have rendered them into Italian some years ago, and that, on looking over your manuscripts in order to compile the volume in question, you might have found them, and, for- getting their origin, placed them with the rest among your Versi Lirici. Should this idea of mine, however, not be founded on fact, it is certainly a most singular literary coincidence. I remain, dear Grandpapa, Your affectionate Grandson, GABRIEL CHAS. ROSSETTI. LETTER IV. To THE EDITOR OF A MAGAZINE. In my Memoir of Dante Rossetti (published in 1895) I have spoken of a very inefficient ballad which he wrote at the age of fifteen, named William and Marie y and of an illustration which he concocted for it. I possess a copy which he made of the ballad, followed by the letter here reproduced. I am not sure what was the magazine to which he forwarded 1843. II the poem and its illustration, in the vain hope of getting published : should suppose it to be Small- wood's Magazine, but for the fact that in that serial there were no illustrations. Possibly he sent the letter and its contents to one Editor after another, but I have no recollection of any such fact. From a reference which I saw in a literary review, 1898 or '99, I infer that the ballad of William and Marie has by this time been printed, in whole or in part, though without any authority from Rossetti's representatives. 50 Charlotte Street, London. [? 1843-] Sir, Should you consider the accompanying ballad not wholly unworthy of a place in your magazine, you would highly oblige me by inserting it. If it meet not with a favourable reception, and should you answer me among your " Correspondents," would you favour me by doing so under the initials "A. B." instead of my real name. I am, sir, Yours etc. etc. GABRIEL ROSSETTI. P.S. I have also executed the enclosed sketch, which is intended, if considered sufficiently good, as a headpiece to the ballad. 12 DANTE ROSSETTPS LETTERS. LETTER V. To JAMES COLLINSON. Mr. Collinson was a painter, chiefly of domestic subjects, and a member of the Praeraphaelite Brother- hood. The letter was addressed to him during the tour which was made by Holman Hunt and Rossetti to Paris and Belgium. My brother was mistaken in referring to certain pic- tures as " the capture and execution of Cambyses " ; they are the works of Gerard David, representing Cambyses punishing an unjust Judge. 'Bride-chamber Talk is the poem published in 1881 under the title of The Bride's Prelude. The initials of Mr. Hunt, added to this letter, are written in by Rossetti. BETWEEN GHENT AND BRUGES. (Wednesday night, 24 October.) Ah yes, exactly so ; but when a man Has trundled out of England into France And half through Belgium, always in this prance Of steam, and still has stuck to his first plan Blank verse or sonnets ; and as he began 1849 OCTOBER. 13 Would end ; why, even the blankest verse may chance To falter in default of circumstance, And even the sonnet lack its mystic span. Trees will be trees, grass grass, pools merely pools, Unto the end of time and Belgium points Of fact which Poets (very abject fools) Get scent of once their epithets grown tame And scarce. Even to these foreign rails my joints Begin to find their jolting much the same. Bruges : Hotel du Commerce. 25 October 1849. Dear P. R. B. On the road hither last night I perpetrated only the above atrocious sonnet, in answer to the voice which urged upon me a more worthy exercise of my energies. It is all therefore that I can give you. I believe we have seen to-day almost everything very remarkable at Bruges ; but I assure you we shall want to see much of it again. This is a most stunning place, immeasurably the best we have come to. There is a quantity of first-rate architecture, and very little or no Rubens. But by far the best of all are the miraculous works of Memling and Van Eyck. The former is here in a strength that quite stunned us and perhaps proves i 4 DANTE ROSSETTPS LETTERS. himself to have been a greater man even than the latter. In fact, he was certainly so intellectually, and quite equal in mechanical power. His greatest pro- duction is a large triptych in the Hospital of St. John, representing in its three compartments : firstly, the Decollation of St. John Baptist; secondly, the Mystic Marriage of St. Catherine to the Infant Saviour; and thirdly, the Vision of St. John Evangelist in Patmos. I shall not attempt any description ; I assure you that the perfection of character and even drawing, the as- tounding finish, the glory of colour, and above all the pure religious sentiment and ecstatic poetry of these works, is not to be conceived or described. Even in seeing them, the mind is at first bewildered by such Godlike completeness ; and only after some while has elapsed can at all analyse the causes of its awe and admiration; and then finds these feelings so much increased by analysis that the last impression left is mainly one of utter shame at its own inferiority. Van Eyck's picture at the Gallery may give you some idea of the style adopted by Memling in these great pic- tures ; but the effect of light and colour is much less poetical in Van Eyck's ; partly owing to his being a more sober subject and an interior, but partly also, I believe, to the intrinsic superiority of Memling's intel- lect. In the background of the first compartment there is a landscape more perfect in the abstract lofty 1849 OCTOBER. 15 feeling of nature than anything I have ever seen. The visions of the third compartment are wonderfully mystic and poetical. The Royal Academy here possesses also some most stupendous works of Memling among them one of a Virgin and Child, quite astounding. In the same col- lection is a very wonderful Van Eyck, some of the heads of which, however, are dreadfully vulgar in cha- racter ; and two pictures by some unknown author, re- presenting the capture and execution of Cambyses equal to any one for colour and individuality, and most remarkably fine in drawing. They are powerfully dra- matic the second perhaps a trifle too much so, as it represents a man being flayed alive, and is revolting from its extreme truthfulness. We have seen here a great many other stunning pictures, in which this town is marvellously rich. There are several Memlings besides those named above, and some glorious portraits by one of the Porbus family perhaps the finest specimens of por- traiture we ever saw. I forgot to mention that Memling's pictures in the Hospital of St. John were presented to the Institution by that stunner in return for the care bestowed upon him when he was received here, severely wounded and in great want, after the battle of Nancy. The interior of the hospital has undergone since his time but very 1 6 DANTE ROSSETTPS LETTERS. little alteration. His pictures are not painted with oil he having preceded Van Eyck but with some vehicle of which brandy and white of egg are the principal components. They have cracked very slightly indeed ; and one cannot conceive the colours to have been more brilliant on the day of their com- pletion. Another great treat we had to-day was in visiting the Chapelle du Sang de Dieu, a wonderful little place : also the Jerusalem, which is in all respects a facsimile of the Holy Sepulchre at Palestine. Friday 26. I have been rash enough to sit down for the purpose of continuing this letter but begin to suspect, after all, that I have nothing to say. All that we have seen to- day was merely in re-visiting yesterday's glories. It is stupendous to see again, certainly even better perhaps than the first time ; but I fear that my pen scarcely suffices for a second bill of fare. I must therefore see what is to be done with some older topic. Before leaving Ghent we visited the great Convent of the town the Beguinage. It is of a vast extent, containing entire streets and squares of its own. Each nun has a house to herself, over which is written not her name, but that of some saint under whose protec- tion she has been pleased to put it. In some cases iS 49 OCTOBER. 17 where the name was more than usually quaint, we felt disposed to knock at the door and to ask if he was in ; but refrained, as it was rather late, and we feared he might be gone to bed. We witnessed the vesper ser- vice, which rather surprised us, as we thought that among the tunes played we could recognize " Jim Crow " and " Nix my dolly." At the end, each nun finds a kind of towel somewhere, which she folds up and puts on the top of her head ; during the service, a rather sloshy* one goes about with a policeman's bull's eye, collecting coppers. At our entrance and depar- ture, Hunt dipped his fingers in the holy-water stoup. and commenced some violent gesticulations, which I was obliged to bring to an abrupt conclusion. We have bought an extraordinary self-concocting coffee-pot for state-occasions of the P.R.B. We have likewise purchased a book containing a receipt for rais- ing the Devil, and in Paris a quantity of Gavarni's sketches, which I long to look over with you. When I left London I had the intention of finishing 'Bride-Chamber Talk during my absence. I have not written a line of it. The only thing I have done, that nobody has had, are two songs, one wanting the last verse, and the other the first The former I will pro- * "Sloshy" was a term of disparagement used by the P.R.B.'s in their early days, to indicate anything lax and scamped in the processes of painting ; and hence it got applied more generally to any thing or person of a commonplace or conventional cast. 1 8 DANTE ROSSETTPS LETTERS. ceed to copy here in spite of its shortcomings ; as news seems to come shorter still. I intend adding the last stanza to-morrow, when we shall ascend the Belfry here. THE CARILLON. (Antwerp and Bruges.) [Here follows the poem printed in The Germ to end of Stanza 5.] I wish I had finished this blessed ditty, dear P.R.B. ; but I have not, " and there an end," or no end at all rather. I will not delay posting the letter, as we do not know exactly when we may leave Bruges for our return, and the letter might chance to reach after Hunt and self. I must inform you that Memmelinck* is an authentic variation in the orthography of that stunner's name, and not of mine own evil devising. The song is, of course, quite original ; there is in particular a Yankee of the name of Longfellow with whose works it has no affinity. I forgot to tell you that there is a Square here called Place Jean van Eyck. Some of the houses in it, as indeed throughout the town, are in all likelihood quite as old as his days. Rubens seems here to be con- sidered a common fool enough. * The name, thus written, occurs in The Carillon. 1850. ig I shall not bore you to answer this rubbish, as I hope very soon to have the real pleasure of again seeing you and the rest of the P.R.B. I long to see what you have done to your picture, and shall rush down at once to Brompton on my return. Till then, believe Hunt and myself to remain, dear P.R.B, Your affectionate P.R. Brothers, D. G. R., W. H. H. LETTER VI. To JOHN TUPPER. I don't know the date of this doggrel (which gives twenty several rhyme-words in " ack ") ; it was pro- bably the Spring or Summer of 1850. The men who " would squeeze a pun in Syriac " may probably have been of the James Hannay connexion ; the men of that connexion were not, however, entirely likely to in- dulge in " sloshy tea," but rather in ardent spirits. As to the nicknames which appear towards the close of the epistle The Prince was George Tupper ; The Baron, his brother Alexander ; Spectro-cadaveral Rex, John (or Jack) Tupper ; the Maniac, Holman Hunt. It is not worth while expounding (even were it practicable to do so) how these epithets arose. Rossetti was not the inventor of any of them. The reference to 2* 20 DANTE ROSSETTrS LETTERS. " Nature, sky, sun," &c., suggests that he had been in- vited to join in a pedestrian excursion such as the P.R.B.'s and their intimates got up occasionally. In the present instance the party, as we see, was to consist of Holman Hunt, Stephens, and the three Tuppers. [? April 1850.] 72 Newman Street. Saturday Afternoon. Dear Jack Alack! A few days back I bound myself by oath to smack My lips o'er sloshy tea, and attack White, brown, or black Bread, and vile jokes to crack, This night with brutes whose knack Would squeeze a pun in Syriac. And for to-morrow, alack ! I have a model on my track, So that I may not pack. Of course I writhe upon the rack : Though as to NATURE, Jack, (Poor dear old hack !) Touching sky, sun, stone, stick, and stack, I guess I'm half a quack ; For whom ten lines of Browning whack 1850 SEPTEMBER. 21 The whole of the Zodiac. Nevertheless, alack ! Seeing this time I must send back To Prince and Baron, Stephens and Jack (Spec-caday Rex, hie haec hoc hac), And to the Maniac, The SACK. This much from D. G. R. (in black, I.e., with coal-ash cloth-of-sack.) LETTER VII. To MARGARET POLIDORI. The " unlucky pickle " into which my brother had got was that, as the tenant of No. 72 Newman Street decamped without payment of rent, the furniture &c. of Rossetti, who was sub-tenant of a studio there, were under seizure for the tenant's default The picture here mentioned was Kate the Queen. [50 Charlotte Street, London. 1850? September.] Dear Aunt Margaret, Many thanks for your kind gift, which reached me this morning through Mamma. I need scarcely tell you that it comes very apropos, since I have not come out of the late unlucky pickle without 22 DANTE ROSSETTrS LETTERS, i some expense, or, rather I fear I shall not, since as yet I cannot say I have lost anything, as in any case I should have had to pay my rent to some one. But I fear the bad part is yet to come. I am glad you liked the sketch of my picture, which is itself in progress. The size is very large seven feet and a half by four feet. There will thus be plenty of icope to put your present to its use in the procuring models, which I shall proceed to do as soon as I get to work again that is, I hope, not later than Monday. I remain, my dear Aunt, Your affectionate nephew, D. G. ROSSETTI. LETTER VIII. To JOHN TUPPER. I cannot now say what Mr. Tupper's " pet theory " may have been ; apparently (from some law of optics) that the real tint of foliage is green, even when the eye sees it of some different colour. The subject of my brother's picture was to be The Meeting of Dante and 'Beatrice in the Garden of Eden: but the landscape background which he now painted was finished up years afterwards for a subject of quite another kind, named The Bower-meadow, 1850 OCTOBER. 23 High Street, Sevenoaks. Friday evening [October 1850.] Dear Jack, Before ever I saw your note to Hunt of this morning, you had already been forcibly recalled to my mind, on arriving here, by the desire that I should be endowed with the privileges that would result from a pet theory of yours. The fact is, between you and me, that the leaves on the trees I have to paint here appear red, yellow, &c, to my eyes ; and, as of course I know them on that account to be really of a vivid green, it seems rather annoying that I cannot do them so ; my subject shrieking aloud for Spring. I will not tell you my subject, as 1 wish to show you the design on my return, having it here at present. I have not seen you for an age, though I marked you among the four or five to be routed out before I left town after which I was forced at last to bolt o' the sudden, with my tail between my legs, whereby hang particulars of acute anguish. My canvas is a whopper again, more than seven feet long. Ai ! Ai ! Hunt gets on swimmingly yesterday, indeed, a full inch over the ankles: I myself had to sketch under the canopy of heaven, without a hat, and with my umbrella tied over my head to my buttonhole a posi- tion which, will you oblige me by remembering, I ex- 24 DANTE ROSSETTPS LETTERS. pressly desired should be selected for my statue (N.B. Trousers turned up). This last item is chiefly to suit Woolner's ideas of sculpture, should he get the commission. Stephens, being under a course of philo- sophy, paints in the house. His band is still, how- ever, an inch or so short of Epicurus's. To-day I began painting on my picture in the Park ; and began to profit by the views of the public thereon. One man told another that I was drawing a map, and analysed my outline to that end. One boy was kicked by another for insulting me by doubting that my land- scape was meant for a deer. I saw the back of a pair of top boots, and a cut-away coat ; Lord Amherst, I was told, was sneaking inside, but he refrained from exposing either his person or his ideas on Art. His house is visited with artists in Egyptian swarms, poor wretch ! Hunt remarked how disagreeable to enter one of your rooms for the purpose of delivering a soliloquy, and find a man there behind an easel ; which was bobbish for Hunt The cold here is awful when it does not rain, and then the rain is awful. "And what shall guard me but my naked love ? " and a railway rug. . . . Believe me, dear Jack, Your sincere friend, D. G. ROSSETTI. 1852 NOVEMBER, 25 LETTER IX. To MARGARET POLIDORI. My brother was now engaged in moving into No. 14 Chatham Place, Blackfriars Bridge the house in which he remained up to March 1862. It was de- molished several years ago. [38 Arlington Street, Camden Town.] 1 6 November 1852. My dear Aunt Margaret, Many thanks for your kind present, which surprised me here half an hour ago. Nothing could possibly have been more useful to me in moving, as I had no lamp but one whose dilapidated condition only promised to make darkness visible. I shall now bear you in grateful recollection, not only when I look at the lamp, but when the lamp enables me to look at anything else. My things will be moved to-morrow, and I hope within a few days to be comfortably settled ; mean- while I remain, My dear Aunt Margaret, Your affectionate nephew, D. G. ROSSETTI. 26 DANTE ROSSETTI'S LETTERS., LETTER X. To MADOX BROWN, HAMPSTEAD. [38 Arlington Street] 22 November 1852. My dear Brown, My beastly foot has hitherto kept me here, but I shall positively go down to Chatham Place to- morrow; if therefore you are inclined to do a charitable action, let me earnestly solicit you to find your way thither, as the arrangement will otherwise be likely to result in mere chaos and catastrophe. I suppose I shall leave here early ; but, if you go down straight to Blackfriars a little later, you will be sure to find me there. This, of course, is supposing that you are not at work, in which case pray come if possible. Yours, D. G. R. LETTER XL To MADOX BROWN, HAMPSTEAD. " Summat on the Book " means the poem Welling- ton's Funeral. 14 Chatham Place, Blackfriars. 29 November 1852. My dear Brown, Hunt, Millais, Stephens, and Deverell, will be here on Thursday evening, not with any reference to 1852 DECEMBER. 27 exhibition projects, which are likely to result, I believe, in exhibiting nothing but our usual inconsistency. I absented myself from Hunt's on Friday, but under- stand that such is the case. I met the fellows at Stephens' last night, where I invited them for Thurs- day, and now write to get you ; intending also to in- vite the Seddons, Collins, and perhaps Hannay. I saw a portrait which Stephens is painting of his father, and which is almost as surprising an advance on former productions as Seddon's landscape. I should be immensely glad to see you this evening if you can call in late after the school. Before, I suppose, is impossible, but I am sure to be at home, and can give you half my bed if you like. I am getting my rooms a little in order now ; yet I fear they will scarcely be decent by Thursday, as the window seems an endless job. D. G. R. I have asked the Seddons for to-night P.S. Do come to-night : to-morrow I am engaged. I have done " summat on the Book." LETTER XII. To MADOX BROWN, HAMPSTEAD. As I have said elsewhere, I incline to think that my brother was mistaken in supposing that his 28 DANTE ROSSETTPS LETTERS. sketches had been " kicked out " ; at any rate, some watercolours of his were on exhibition. 14 Chatham Place, Blackfriars. [4 December 1852.] My dear Brown, I have asked Hannay to come round to- morrow evening. He and you were the only defaulters on Thursday except John Seddon, who it seems is out of town. Can you come in to-morrow instead? Do if you can. I will try and get William also, though I heard last night at Millais' that he was rather unwell. What do you think? My sketches are kicked out at that precious place in Pall Mall. I am, of course, more than ever resolved to paint my picture of the pigs. Alas! my dear Brown, we are but too trans- cendent spirits far, far in advance of the age. Do not let us bring up this subject to-morrow if Hannay or any one else is present, as it is of no use trumpeting one's grievances. But do come. Your friend, DANTE G. ROSSETTI. LETTER XIII. To MADOX BROWN, HAMPSTEAD. " The blessed white eyesore " was the picture Ecce Ancilla Domini, now in the National Gallery. J853 -JANUARY. 29 14 Chatham Place. [i January 1853.] My dear Brown, This blessed afternoon the blessed white eye- sore will be finished. Therefore, if you have any last directions about your pictures now in Green's hands, you had better give them. Yesterday after giving up the Angel's head as a bad job (owing to William's malevolent expression) at about one o'clock I took to working it up out of my own intelligence, and got it better by a great deal than it has yet been. I have put a gilt saucer behind his head, which crowns the Cftina-ese character of the picture. Yours, D. G. R. LETTER XIV. To MADOX BROWN, HAMPSTEAD. 14 Chatham Place. [14 January 1853.] My dear Brown, I find that the blessed white daub will not be finished before to-morrow evening, but then it will be finished. Green has still got the frame ; and here- with I write to him to send for the picture. I suppose your case is not gone yet, but write in order that you 30 DANTE ROSSETTI'S LETTERS. may not be in doubt as to my movements. The fact is, I have been very lazy. Your affectionate D. G. R. LETTER XV. To MADOX BROWN, HAMPSTEAD. Chatham Place, London. Sunday morning. [24 January 1853.] My dear Brown, Just as you are gone, it occurs to me that, if in writing to M'Cracken you mention about the altera- tions in my picture, it would be better not to call them alterations, as that indicates that the work required amendment, but to leave him to suppose them addi- tions ; also not to say that I have done much to the thing, but merely that what I have done is greatly for the better. I do not mean to make any charge for the additional labour, and therefore to let him suppose that I have done too much for nothing would look like undignified enthusiasm. You will say I am improving when mere diplomacy can make me write all this, so long past bed-time. Good morning. D. G. R. 1 853-: JANUARY. 31 LETTER XVI. To MADOX BROWN, HAMPSTEAD. " My pupil " must, no doubt, have been Miss Siddal. In the P.S. she figures as " dear G.," which indicates the pet name " Guggum." Her drawing from Words- worth was an illustration of the poem, We are Seven. Albany Street. J past 9 Saturday evening. [29 January 1853.] My dear Brown, I am quite vexed with myself for having been away after being the originator in to-day's invitation ; but, after painting till nearly five and warming myself afterwards in the full certainty of abundant time, I ended by being completely set at nought by accursed shoe-strings and other domestic demons which turned up to be attended to before I could leave ; and, when at last I got the better of them, behold it wanted but a quarter to six o'clock. My intention was to come and dine and get you to accompany me afterwards to the Photographic Exhibition, whither I had promised to take my pupil on this the last evening of the season. Being baffled of coming to dine, I dined at Chatham Place, went to the Photographic Exhibition, and then 32 DANTE ROSSETTPS LETTERS. came on, still hoping to find you, knowing your in- trepidity in late walks. This last chance is missed, however, as fate wills it, and I can only repeat how vexed and apologetic I feel about the matter, and hope to see you some other way soon Remaining yours ever, D. G. ROSSETTI. P.S. If you are in London any day, do look in at Chatham Place and see dear G.'s drawings the one from Wordsworth is very advanced and nearly done. LETTER XVII. To MADOX BROWN, HAMPSTEAD. Holman Hunt's "moonlight" was for the picture of The Light of the World. Rossetti's "Giotto's Dante " was the water-colour of Giotto fainting the Portrait of Dante y sold to Mr. John Seddon. I am not sure as to the commissions offered by McCracken of Belfast, and Miller of Liverpool ; it does not appear to me that my brother, towards this date, actually pocketed any such sum as 150. The Dante and Beatrice must be the picture (intended but not exe- cuted) for which he had lately painted the background at Sevenoaks. Brown's " School-nights " were at the so-called North London School for Drawing and Modelling. Bateman was a Decorative Artist, Edward 33 Latrobe Bateman, who had gone out to Australia with Woolner, to seek his fortune. Blackfriars Bridge. [i March 1853.] My dear Brown, I have not seen you for an age. Can you not come down to give you a long date on Saturday evening? I will ask Seddon if you like, but shall not do so till I hear from you. I have just come from Hunt's, who is dreadfully fagged, sitting up all night to paint his moonlight. Now do come. I think you have never seen my Giotto's Dante here, which I shall not have much longer. Not that I have made any direct use of it as yet, nor am likely to do so just now, as I have got a 150 commission from McC[racken], and am in a fair way to get one from Miller of Liver- pool perhaps a better one. However, I may nail him for the Dante and Beatrice. I hope I shall see you. I have allowed for all obstacles both my engagements and your school- nights and the date is a very long one. Meanwhile I am Yours most sincerely, DANTE G. ROSSETTI. I saw the Howitts last night, who have heard of 3 34 DANTE ROSSETTTS LETTERS. Bateman's arrival at Melbourne, though not through him ; but still nothing of Woolner. Have you heard anything through young W[oolner] ? P.P.S. Please let me know in your answer (as soon as possible) whether you ever named to McC[racken] anything regarding the f rices which I took for those sketches now exhibiting. Ruskin has written him some extravagant praises (though with obtuse accompani- ments) upon one of them I cannot make out which and McC[racken] seems excited, wanting it, and not knowing (or making believe not to know) that it is sold. 1 therefore want to be sure whether he is actually acquainted with the price I had ; as, in answer- ing him, were I to propose to do him a similar one, I should not think of undertaking it at anything like a similar price, and want to know whether it is necessary to specify that those sketches were sold to friends. LETTER XVIII. To MADOX BROWN, HAMPSTEAD. This is a characteristic epistle. The Mr. T. here mentioned (I use a fancy initial) was not a genius, but there was no real occasion for dubbing him " an ass." Brown did not produce the proposed etching. 35 [Chatham Place, London. 4 May 1853.] My dear Brown, There is such a thing as one T., who is con- nected with a magazine to be called The Artist, on which my brother is engaged, and the first number of which is to come out, 1 think, on 1st July. The pro- prietor is Delf, publisher of Read's poems, and this T. is rather a card among the staff. I met him casually to-day, and he told me that Millais (who had engaged if possible to do the etching for No. i) found himself prevented by other business, and he asked me whether I thought you would undertake it. I understand they have plenty of tin to begin with, and I suppose would of course pay well. We agreed that T. had better call on you and come to some understanding, and he wanted me to get you to name a day when he could call at Hampstead. If you will let me know I will let him know. . . The chief thing is, to lay it on thick as to payment, as I believe they really have tin. T. is, of course, an ass, and should on principle be treated with ignominy. Remember me kindly to Mrs. Brown, and let me hear from you. Yours most sincerely, D. G. ROSSETTL 3* 36 DANTE ROSSETTI'S LETTERS. LETTER XIX. To MADOX BROWN, HAMPSTEAD. "Lizzy" is Miss Siddal. Her portrait, water- colour, is the one reproduced in tKe Family Letters of my brother. She painted eventually more than one water-colour from Tennyson, but now any that was exhibited, or offered for exhibition, in the R.A. [Chatham Place, London. 25 August 1853.] My dear Brown, Some cad wrote to me from Highgate the other day to inquire after your respectability. In my answer, by some exercise of ingenuity, I avoided the mention of Coldbath Fields, Botany Bay, and other localities equally inseparable from your career. Lizzy has made a perfect wonder of her portrait, which is nearly done, and which I think we shall send to the Winter Exhibition. She has been very ill though lately. Pray remember me most kindly at home, and believe me Your friend, D. G. R. Liz is going to begin a picture at once for the R. A., from Tennyson, I believe. SEPTEMBER. 37 LETTER XX. To MADOX BROWN, HAMPSTEAD. I am unable to say anything to the purpose about Brown's "Hogarthian Sonnets." The joke about " the nigger " was a sort of offshoot from Carlyle's Occasional Discourse on the Nigger Question, a pronouncement which vastly amused my brother and several others in our set [Chatham Place, London. 24 September 1855.] My dear Brown, I shall be most glad to accept your invite for Sunday, to Finchley via Hampstead, and shall try at once for William, who I am sure will have equal pleasure if not pre-engaged but these men of society ! The Hogarthian sonnets have great excellencies, especially the last; but they also present a few obscurities to which Browning alone might perhaps serve as a sort of introductory horn-book. Speaking of horn reminds me that like Desdemona I am " half asleep," and must to bed. By the by, that play tends to show how the nigger, without due coercion, takes merely to beating his wife, and perhaps ends by choking her as an outlet for his waste energies. 38 GABRIELE ROSSETTPS LETTERS. I shall come on Sunday to Hampstead with or with- out William, at about three or half -past, and will bring the sonnets with me, and then go fully into them with you. Meanwhile and ever I am your D. G. R. LETTER XXL GABRIELE ROSSETTI TO DANTE ROSSETTL (Translation.) The Arfa Ev angelica was a volume of religious lyrics by my father, then recently published. " My friend Di Negro " was the Marchese Gian Carlo di Negro, a Genoese patrician of good literary stand- ing known to my father by correspondence, not in person. Frome. 4 October 1853. My dearest Gabriel, For some while past I have been feeling a strong impulse to write to you, my dearly beloved son ; and to-day I will obey this imperious inner voice. I am glad that you have undertaken to read the Arpa Evangelica. . . . You should, however, always bear in mind that this book is the outcome of only 1853 OCTOBER. 39 three months' work, and was written with the inten- tion of its being amenable to every grade of intelli- gence. I am extremely pleased at the progress which you are making in your beautiful art, and at some profits which you are earning from it to maintain yourself with decorum in society. Remember, my dearly loved son, that you have only your abilities to rely upon for your welfare. Remember that you were born with a marked propensity, and that, from your earliest years, you made us conceive the brightest hopes that you would become a great painter. And such you will be, I am certain. At this moment I have received a letter from Genoa, from my friend Di Negro. He rejoices at the arrival of the Arfa. . . He says that throughout Piedmont, and in Liguria and Sardinia, it is well received and generally admired ; but that in the other parts of Italy the governments prohibit its entry, on account of the author's name, which has become a veritable scare- crow to Kings. If you had to go to Italy, I would recommend you, my dear son, always to call yourself Dante Rossetti. But, before a time comes for that, I trust that affairs will have changed. I beg you to go frequently to visit your worthy grandfather. What an excellent old man ! . . . 40 DANTE ROSSETTI'S LETTERS. Good-bye, my most lovable Gabriel, and believe in the constant affection of Your affectionate father, GABRIELE ROSSETTI. P.S. I perceive I have not spoken to you at all about the state of my health. And what can I say of it ? It is the same as it was in London ; betwixt life and death, but more tending to the latter than the former. LETTER XXII. DANTE ROSSETTI TO MADOX BROWN, HAMPSTEAD. My brother's parody on Tennyson's Kraken is published in my Memoir of him. [Chatham Place, London. 7 November 1853.] My dear Brown, ... I have had some news of Woolner (i.e., a letter to his father which was shown me). He and B[ernhard] Smith were seven months at the diggings (full accounts of which I have seen in letters from Bernhard Smith to his brother). Their work seems to have been something awful, and their result was the loss of 30 apiece, as they each made 50 and spent 80. Bernhard Smith went after this to his brother's' farm and W[oolner] 1853 DECEMBER. 41 to Melbourne to try Art. Here he seems to be getting on well. He has done several medallions at 2$ each one of the Governor and there seems to be a good prospect of his getting a statue of the Queen to do for Melbourne, in which case he will be back again next summer. He sent two Australian papers in which he is spoken of as quite a great fact, and a leading article given to him and the projected statue. I thought I would write to you all this, not knowing when I may see you, and now it suddenly strikes me that it was all jawed over that night at Deverell's. I have made an admirable parody on Tennyson's sonnet, The Kraken, which I enclose with the original for your ecstatic perusal. Yours, D. G. R. LETTER XXIII. GABRIELE ROSSETTI TO DANTE ROSSETTI Translation. The phrase " I can't write clearer " may deserve a moment's attention. The fact is that my Father's handwriting was from the first singularly precise and perfect, and such it continued to the last. In the years when his sight had grievously declined he used powerful glasses, and his writing was minute and done with effort, but (with some casual exceptions) it was 42 GABRIELE ROSSETTPS LETTERS. always uncommonly good. The present letter, though an inferior specimen, is nearly as clear as print. Frome. 22 December 1853. My much-loved son Gabriel, Long have I been thinking of sending you a letter, and I never do it. Have you read more of the Arfa Evangelica? Your opinion is valued by me ; tell me then something about it, besides what you have already said. Excuse me, my dear son, I can't write clearer and I fear that shortly I shall be unable to write at all. My blindness increases daily, nay hourly. We shall return to London on the 25th of March, and we return for ever. I trust to find in good health you, my dearest son, and your brother and your sister Maria. And you will rejoice in again seeing dear Christina, and your aged Father, who will soon go under-ground with beloved Polidori. I learned with pleasure that you and William and Maria all assisted at his last moments. Dearest Father-in-law and friend, how much did I love you ! Be heedful of your profession, dearly beloved son, and let the public see what you are capable of. Your loving father, GABRIELE ROSSETTI. JANUARY. 43 LETTER XXIV. DANTE ROSSETTI TO MADOX BROWN, HAMPSTEAD. Mr. Holman Hunt's " day of departure " was for his journey to Egypt and Palestine. I believe that Hannay's proposed Magazine The Pen did actually run through a few numbers, but Rossetti's Burden of Nineveh did not appear in it. [Chatham Place, London. 3 January 1854.] My dear Brown, I am sorry my letter miscarried, as it pre- vented your coming and meeting Hunt, whom I asked after writing to you. His day of departure was then fixed for the next day, and now it is to be to-morrow, but one does not know whether it will be so after all. Till he is fairly off I will not fix an evening for coming to Hampstead, as it might possibly interfere with some opportunity of meeting him. My water-colour is still, to MacCrac, "vague as the watery moon." I have no news. Lizzy sits by me at work on her design, which is now coming really admirable. She has also finished the Lady of Shalott sketch, and made quite another thing of it. She has followed your sugges- tion about her portrait, and done several things which improve it greatly. Hannay is going to start a penny 44 DANTE ROSSETTPS LETTERS. weekly mag., to be called The Pen, and wants to have my poem about Nineveh for it I suppose I shall give it him. I some time back gave Sister Helen to Mrs. Howitt for some English edition of a German something or other, which will be coming out now. No more news. Good-bye. Your D. G. R. LETTER XXV. To MADOX BROWN, FINCHLEY. " Emma " was the second Mrs. Madox Brown. The Dr. Wilkinson here mentioned was Garth Wilkinson, an eminent Homoeopathist, Editor of Blake's Songs of Innocence and Experience, etc. The picture by Miss Anna Mary Howitt at the Portland Gallery was Gretchen at the Fountain. My brother, in saying that Miss Howitt had been " kick- ing up quite a great row " with this picture, only mea.nt that the work had been much noticed and admired. The statement that Miller (John Miller of Liverpool) had bought Deverell's As You Like It is only one of several references to Walter Howell Deverell, and his then recent death, occurring in these letters to Madox Brown. The other references, being more appropriate in another connexion, are omitted here. The As You 1854 MARCH:. 45 Like It was a picture from Shakespeare's play the mock marriage of Orlando and Rosalind. [Chatham Place, London. 30 March 1854.] My dear Brown, What has become of you ? You were not well when I last saw you, nor I believe was Emma. I have been meditating Finchley for a long while, but have never been able to get there. So would you write me a word to say that you are both better, and to make, if possible, some kind of arrangement for us to meet. Lizzy and I would be very glad if you could both fix an evening to come here, only I fear a bed upstairs would not be possible, as those rooms are taken. Lizzy has been very unwell lately. I have intro- duced her to the Howitts, and we have spent several evenings there. They are quite fond of her, and most delighted with her productions. I have also brought her and my sister Christina together, as our family are now in London again. The Howitts insisted on Lizzy's seeing a Dr. Wilkinson, a friend of theirs, and I believe an eminent man. He finds that the poor dear has contracted a curvature of the spine, and says she ought not to paint at present; 46 DANTE ROSSETTTS LETTERS. but this, of course, she must. He says her case is a very anxious but by no means a hopeless one. You know, I suppose, that Miss Howitt has been kicking up quite a great row with her picture at the Portland Gallery. Miller has bought poor Deverell's As You Like It for 50 guineas. Lizzy is sitting by me working at the most poetical of all possible designs, and sends her love to both Emma and you. Yours affectionately, D. G. ROSSETTI. LETTER XXVI. To MADOX BROWN, FINCHLEY. Miss Barbara Leigh Smith became after a while Mrs. Bodichon a name held in high and deserved honour by persons interested in the cause which she served with lifelong zeal and liberality the advancement of women. She was also a landscape- painter of considerable gift. [Chatham Place, London.] Wednesday [? 1854.] Dear Brown, Dear Lizzy is very unwell indeed, and I think on Saturday I shall probably be taking her down to 1854- 47 Hastings, for her to stay there some time at a place that Barbara Smith, who has got quite thick with her, has recommended as cheap and nice. Barbara Smith, the Howitts, and Dr. Wilkinson, are all enraptured with the dear. I mean to show her productions to Ruskin, who was here again this morning, and who I know will worship her. Will you come on Tuesday ? or sooner and better on Friday, MADOX BROWN. SOME LETTERS FOLLOWED BY A DIARY. 1 844 DE CEMBER. \ 5 1 MADOX BROWN TO ELIZABETH BROWN, HASTINGS. LETTER I. Brown and his first wife (his cousin, Elizabeth Brom- ley) married at a very early age, and lived for a while in Paris. They left Paris and settled in England in the summer of 1 844. The state of her health was such as to require her to live out of London, and she went to Hastings; he occupied a studio in the Regent's Park or Camden Town district, in the same house with the painter Charles Lucy and his family. Another inmate was Frank Howard, an artist of rapid facility and some cleverness, who engaged in the cartoon-com- petitions for the Houses of Parliament. " My coloured sketch " was (I take it) the same design as Brown's car- toon, The Spirit of Justice, sent to the second of these competitions. The name of the painter, William Etty, explains itself. Martin must be the celebrated John Martin. 35 Arlington Street, Camden Town. [ ? December 1844.] My Blessed Lizzy, You can't think how I was pleased to receive your long letter. ... I am in no mood to write a long letter. I am bothered and anxious. This is a horrid 4* 52 MADOX BROWN. place : that study is a regular castle of indolence, and it is catching indeed, nothing is more so. The study is continually full of all of them, gabbling, and it dis- tracts me. That infernal Howard is a pest, and yet he is so good-natured one can't feel offended at him. It is a curse to be in such a place. Nothing would sur- prise me less than to want time just at the last. I have got more work than I can get through. I ought to have done it all before the new year. I have showed my coloured sketch to Etty and Martin; they were both pleased with it, which is a rare feeling for Etty to express. God bless you. I have no time or humour to write more, but believe me, your husband loves you as the first day. God bless you. F. M. BROWN. LETTER II. The letter from which I here extract appears to be incomplete there is no signature to it. The oil-picture of Parisina represents the jealous rage of the husband consequent upon the words of love murmured by Pari- sina in her sleep a dramatically treated subject, painted in a dark continental style, not at all hinting of " Praeraphaelitism." It now belongs to Mr. Henry Boddington, of Manchester. The last thing on the sheet of letter-paper is the sketch (a slight affair) of The Banks and Braes of Bonny Doune. I am satisfied FEBR UAR Y. 53 that Brown did not ever paint this intended subject. We see here that he " modelled " a little boy ; but I think the process of modelling was still almost a no- velty to him when, after Dante Rossetti's death in 1882, he undertook the bas-relief subjects for his grave-cross, and afterwards the bust-monument in Cheyne Walk, Chelsea. 35 Arlington Street, Camden Town. [? February 1845.] My dearest Lizz, I write you from the Studio again, as I had no paper this morning. I have been out and executed all your commissions. ... I went to the British Institu- tion yesterday, as it was varnishing-day, and saw all is a noble-looking man. They have not hung my sketch, but the Parisina looks very well, as it has got a good light, light. I saw Mr. and Mrs. Maclan, a Scotch artist and his wife, whom I met at Mr. Etty's. He was in perfect rap- ture with Parisina; said the price I asked was per- fectly preposterous, fifty guineas. He said it was worth six times as much. You will be surprised but not dis- pleased to hear that I have almost begun a picture for the Royal Academy The Banks and Braes of Bonny Doune one full-length figure the size of life. As it 54 MADOX BROWN. will be a very pretty thing, it might sell ; at all events, it will be something to send there. But after some re- flection I have decided not to begin it till three weeks before the exhibition opens, as I will then be better able to judge if it will have time. Besides, if I can get the old Judge Best to sit, I would not have time for both for certain. I have made an outline from nature for it. She is bare-foot, seated on the bank and with the water at her feet, looking round at the birds at play, which awakes a pang. I have modelled a little boy, and drawn him from Mrs. Christie's little boy. . . . LETTER III. Brown was at this time preparing to work on his specimen of fresco, for the Westminster Hall competi- tion ; he was also engaged upon his cartoon of The Spirit of Justice for the same competition, and upon a water-colour reproducing the composition of that car- toon. The other cartoons, which he had been remov- ing from Westminster Hall, were proper to the competi- tion of the preceding year namely, William the Con- queror gazing on the body of Harold, and Adam and Eve after the Fall. All three cartoons remained in his possession i84S A^K 55 up to his death in 1893, anc ^ were sold shortly afterwards to public institutions. In connexion with these cartoons, Brown names " Pickham." I do not know who Pickham may have been, and suspect that he meant Pickford (the carrier), for he was always cele- brated for mauling surnames. " The wax sketch " must have been an encaustic painting from the Harold sub- ject, exhibited along with it in Westminster Hall. Mrs. Lucy was the wife of Mr. Charles Lucy, the painter, in whose house Brown then occupied a studio. Mr. Lucy is now almost forgotten, but was at one time an artist of some prominence, popular from the engravings after two of his large works Cromwell at the Deathbed of his daughter Mrs. Clay pole, and "Nelson in the Cabin of the Victory. 35 Arlington Street, Camden Town. 6 May 1845. My blessed Wife, ... I have got my fresco-ground prepared at last, and brought home. My sand and lime is all mixed, and I am only waiting for tracing-paper to begin my fresco. In the mean time I have finished off the top part of the Cartoon, ready to paint from it. I have also finished the Knight and the Lawyer and the Widow, and have begun the Father of the Knight. I 56 MADOX BROWN. am getting on, and so is the time, I hardly know which the faster. I had to go to the Westminster Hall, [and] roll-up my Cartoons, as they were clearing the Hall for next exhibition. It took me a day's work nearly ; but they are now safely packed up, thank goodness, and hid away by Pickham, as I did not know where to have them brought to ... I have just been writing to Manchester about sending Parisina there, and the wax sketch. . . I will tell you an amusing anecdote. Mrs. Warton, the Model, came to sit to Mr. Lucy the other morning ; she came while I was gone to breakfast. She is rather a pretty girl. When I was there, Mr. Lucy left the room a moment, when the girl asked me if Mrs. Lucy was jealous of her husband. I said I did not think so but why ? " Why," says the woman, " while I was waiting for Mr. Lucy here this morning, Mrs. Lucy came into the room, and pretended to look for a book. And says she, ' Are you come here to sit for Mr. Lucy ? * Says I, ' I don't know, I'm sure, which of the gentlemen I'm wanted [for], I believe it is for Mr. Lucy,' says I. So says she, ' Are you going to sit undressed to him? ' And I answered her, ' I'm sure I don't know if he wants me to.' ' Well,' says she, ' I'm sure I can't think how ever a woman can be so nasty undelicant as to take off all her things before a man ; it's a filthy disgusting i8 4 5 MAY. 57 thing to do, and I can't think how they can get any woman to do [it]. 7 wouldn't/ says she f No, that I wouldn't/ " Mrs. Warton answered her not a word to increase her choler; "so with that she flounced out of the room, with her face as red as a turkey- cock's." Mrs. Warton would have it that she was on the tiles, peeping down through the skylight ; because it rattled with the wind, and Mr. Lucy looked up once now and then, and told her it was the wind. But nevertheless the story is sure to go unimpaired all over London, as Mrs. Warton, being pretty, seemed to derive satisfac- tion from the idea of Mrs. Lucy's being jealous. . . . Your affectionate dear Husband, FORD M. BROWN. LETTER IV. [35 Arlington Street May ? 1845.] My blessed Lizz, . . . I shall have done my fresco to-morrow : I shall then have more than a fortnight to finish my cartoon and sketch. I can't say how it looks till dry, but I think it is better than last year. If it does not dry well, I shall retouch it a great deal. I lay the plaster myself over-night, and work all next day from five in the morning till dark. I shall have done it all 58 MADOX BROWN. in fourteen days. I have hired an alarum that always wakes me at half-past four. I go to bed at eleven. . . God bless you over and over again. How cruel of you never to say a word about your health ! Your ever affectionate husband, FORD M. BROWN. LETTER V. The picture mentioned is, I infer, the Parisina. The date of the letter is but obscurely indicated. " Our child," named at the close of the letter, was Lucy Brown, born in 1843, who became my wife in 1874. 35 Arlington Street, Camden Town. ? 1 8 May 1845. My dearest Lizz, I promised you yesterday to finish my letter by this post, as I had so little time to write you a decent letter yesterday what with Mrs. Lucy's making me eat of the inside of a sheep, and Mr. Howard's infernal tongue, which went at such a rate that I was obliged to leave him and his studio in which we were working (as the stove is being mended in ours) and go in the middle of his argument into our cold room to be able to finish the letter at all ; and then I had to run a good way after the bellman, who 59 had just left the office. Tell me next letter if you have to pay for it I mean yesterday's letter. My own dear Lizzy, I am now in peace and quiet by mine own fireside, and have time to say all I wish to you, my dear wife. I must, as you wish, give you all the news, such as it is : but first and foremost make yourself happy and quiet. As for myself but for you, I never was in better spirits, particularly since I have seen Mr. Solly, and, but for the wish to see you, I should be quite happy. Our prospects seem brighter to me than ever. It may be a kind of excitement, but I feel sure that in a few years I shall be known, and begin to be valued, and in the meantime I shall be increasing reputation daily. The artists seem to be pleased with the picture now exhibited, as I hear from divers models ; and this (as it was never painted to suit public taste) is as much as I can wish : all the artists seem to notice it. Don't mention much about my artistic affairs to Miss A , as she is such a friend of the Claxtons, * who seem queer people. . . . I am colouring the sketch of my cartoon, and will get it all right, I think, but it is the most difficult part. The figure of the Knight in brown burnished armour looks splendid now it is coloured : it is not the sketch * There was a painter, then of some repute, named Marshal Claxton : I presume that he and his family are here referred to. 60 MADOX BROWN. for sending in that I am doing. I have been drawing from the model a great deal also, and will soon get through all that, but will not have time to paint the "Banks and "Braes of Bonny Doune. I am altogether pleased with my work, and am doing it more carefully than I did the last cartoon ; but am not so satisfied with the quantity I have done these few last days, I seem to have so many things to do. . . Mr. Lucy is very kind and mightily taken with me and you, which is as well as otherwise. What lies you wrote about their child ! I have now told you pretty near all. God bless you, my dear Wife, and bless our child. . . . Your affectionate hubby, FORD M. BROWN. MADOX BROWN'S DIARY, 1847 TO 1856. Brown seems to have first begun keeping a Diary on 4th September 1847. I possess five copy-book sections of this Diary, going on (but with considerable intervals when the day-by-day work was neglected) up to 6th January 1856. Later sections are in the possession of Mr. Ford Hueffer, and have been used in his book entitled Ford Madox Brown. I have said elsewhere that, had I at the proper time been con- ,i8 4 7 SEPTEMBER: 61 scious of housing the earlier sections, I should at once have placed them at his disposal but I never knew anything about them until October 1 896, when the above-named Biography was already fully in type. I am satisfied that the reader, conversant with art- matters, will find a good deal of interest in my extracts from the Diary, offhand though they mostly are : these form perhaps hardly a half of the whole. The foot- notes are always mine. When the name Lucy occurs the reader should be on his guard to remember that it sometimes means Brown's daughter Lucy, but more generally the Painter Charles Lucy. Brown was punctilious in noting down at the end of each day the number of hours during which he had been occupied in actual professional work. Taking at random the month of November 1847, I find the total to be 17 i l / hours, or upwards of 5 hours per day. This, allowing for interruptions, meals, and demands upon him for other than artistic purposes, is a good tale of diligence : but at some other periods the numbers of hours was much larger we read of 10 hours, 12, and even on occasion 15 and 18. 4 September 1847. As the work I am at present engaged upon is the most extensive, as well as the most interesting to myself, of any that I have yet undertaken, I shall 62 MADOX BROWN. begin this book by a short retrospectory glance at the events which have led to my undertaking it. In the summer of '45 I went to the British Museum to read Sir James Mackintosh's History of England, having heard that it was of a philosophical nature, with a view to select some subject connected with the his- tory of this country, of a general and comprehensive nature. I was already wavering in my mind between two that struck me ; one was " The First Naval Vic- tory," and the other "The Origin of our Native Tongue." The former subject had first engaged my attention; but the sight of Maclise's cartoon of Chivalry, and the wish to handle more luxuriant and attractive materials, afterwards changed the current of my thoughts. In this mood, glancing over the pages of the above- named history, I fell upon a passage to this effect as near as I can remember: "And it is scarcely to be wondered at that English about this period should have become the judicial language of the country, ennobled as it had recently been by the genius of Geoffrey Chaucer." This at once fixed me ; I imme- diately saw a vision of Chaucer reading his poems to knights and ladies fair, to the king and court, amid air and sunshine. When I arrived at Rome, from the library of the English Academy I procured the works and life of our SEPTEMBER. 63 first poet, and fortunately I found that the facts known respecting him perfectly admitted of the idea I had already conceived of the subject, to wit, Chaucer reading his poems to Edward III. and his court, bringing-in other noted characters, such as the Black Prince etc. I immediately set to work; and, after many alterations and great labour, I brought the com- position to its present state. At first I had intended calling it " The Seeds of the English Language," and putting Wiclif on one side (as a wing) and some one else on the other; but I could find no one to suit. Gower was too poor a character; and John of Gaunt, for the harmony of ideas, would not suit it being inappropriate to put the patron on one wing, and his proteges one in the centre and the other on the other side-compartment. I then changed my idea to that of " The Seeds and Fruits of the English Language " ; but I soon found that in doing so, after having given a place to our greatest poets, there would be none left for the prose- writers : and, little liking the trouble of cutting and contriving for them, I determined on leaving them out and calling the work the " Seeds and Fruits of English Poetry." Such is the exposal of the train of ideas which led to the composition of the work in its present state. Whether it may ever deserve the pains I am now 6 4 MADOX BROWN. taking about it remains to be seen ; very likely it may only add one more to the many kicks I have already received from Fortune. If so, I am quite able to bear it and despise her. Of one thing she cannot rob me the pleasure I have already extracted distilled, I may say from the very work itself. Warned by bitter experience, I have learned not to trust only to hope for my reward, nor consider my toil as a sacrifice, but to value the present, the pleasure that I have received and daily yet receive from the working out of a sub- ject after mine own heart, a love-offering to my favourite poets, to my never-faithless Burns, Byron, Spenser, and Shakespeare. Never can I forget the pleasure with which I could muse over my work in Rome, at a time when visited by the most bitter afflic- tions and apprehensionsc for the future, * at a time when all other satisfaction was impossible ; never can I forget that she gave it her unqualified approbation, prophesied that it would ensure me ultimate success, regretted that she would never live to see it, and ordered me to complete it after her death. In ful- filling her behest I am breaking one of her strongest recommendations I have parted from Lucy, t O * This refers to the mortal illness of Mrs. Brown, in Rome : she died soon afterwards. t Lucy Brown had been placed at the boarding school (a very good one) kept at Gravesend by her aunt by marriage, Mrs. Helen Bromley. This was a most estimable Scotch lady (Miss Weir) : she died in 1886. QJID /UJOX WfUD'DIffD'/PT d , ' OP tVJ2ff S'vC ASffil '7 . SEPTEMBER. 65 God ! ought not that thought to make me strive and struggle against indolence ? Oh the hell of poverty ! To-day I have done little or nothing but sketched-in the figure of Chaucer in white chalk, and have been to the Strand about some costumes, after writing out a list of them. I must not omit to say that in Rome I painted a sketch of it in oil, afterwards made a drawing of it in chalk, and then an outline of the whole as it now is ; since which I began first to fill it up in colour at Southend, afterwards went on a little with it at Hampstead, and since touched it and marred it at Tudor Lodge.* I have long intended beginning this journal ; praise be God it is begun at last. 5th September. Got up late, got to work late, did little, scratched-in three figures in white chalk; left off at half past two, dressed and went out to dinner. Then went to the Cemetery : t found it full of cockneys : walked over to Hampstead, saw a glorious sunset. . . . 6th. Have not worked to-day tried to do so but could not, having been out all the morning to the costume-shop and other places. . . . Got a lay figure from Barbe's at last, bought ten yards of flannel for * The residence of the painter Charles Lucy. t Highgate Cemetery, where Mrs. Madox Brown was buried. 5 66 MADOX BROWN. draperies, engaged a model for to-morrow. Lost my- self in Somerstown ; got into a place where there was no gas ; thought I should get my throat cut. Per- severed, and after almost breaking my neck got into the King's Road at last. . . . Went to Cooper's, and ordered a moveable seat for my painting-steps. . . . 7th. Got up at seven, model came, worked well all day drew some legs. . . . 8th. . . . . John Marshall * came in ; went out with him, and then called to see my aunt Brown. Lost a day like Titus, but dined (like Lord Byron on his birthday) on eggs and bacon and ale. Am very sulky with myself. gth. . . . Bought some plaid draperies, and set about arranging the draperies for Robert Burnsf on the lay figure sweated over it till dark, but got it to do at last. Went out till bed-time. . . . nth. . . . Painted-in part of a study for Robert Burns' tartan with copal varnish ; worked till quarter to six. 1 3th. Went to Gravesend to see Lucy dear. * The surgeon who constantly attended Brown and his family ; also Dante Rossetti. He became Professor of Anatomy at the Royal Academy, President of the Royal College of Physicians, &c. t According to Brown's original plan, the centre picture of Chaucer was flanked by two side-pictures, containing figures of Spenser, Shakespeare, Milton, Pope, Burns, and Byron. This scheme was finally abandoned in the large painting, but it is to be seen in one or two minor versions of the work. 1 847 SEPTEMBER. 67 1 4th. Got up later, at eight. Finished the plaid, and began a drawing for the robe of Robert Burns. Mr. and Mrs. Lucy came in : afterwards Thomas in- terrupted,* and I didn't do much. Have bought a rat-trap : studiof swarms with them. . . . 1 6th. Got up at half past seven. Cut out a fresh mantle for Milton. Set it and began drawing it. Went out in the evening. Set about preparing a togam ; J bought more flannel for it. 1 7th. Got up at quarter to eight: worked all day at the cloak for Milton, and all the evening till twelve at the togam. . . . 1 8th. . . . Cut out the togam, and arranged it on the lay figure for Lord Byron. . . . 2Oth. Got up very early for a wonder : got to work at quarter past seven. Worked very hard all day ; finished the drapery for Lord Byron. Dined, and walked round Regent's Park with Thomas. Left him about to go and tell them, at a Shakespeare meeting of * Thomas is William Cave Thomas, a painter (still living) who had distinguished himself in the Cartoon competitions at West- minster Hall. He is also known as the writer of some very thoughtful books on the Theory of Fine Art, as co-ordinate with Science and M orals. t The studio was in Clipstone Street, Marylebone ; the same in which Dante Rossetti first visited Madox Brown. \ In this instance and others Brown wrote "togam" instead of " toga." I suppose he had, at some time, seen the word printed in its accusative case. In matters of this sort he had a curiosa felicitas for going wrong. 5* 68 MADOX BROWN. the Church Mason Society, that he thought it all hum- bug, and that the old House* had better be pulled down, and monument put in its place. Afterwards I came home, and had the energy to arrange the lay figure for Shakespeare before going to bed. 7 am honouring him in the right way. 2 1 st Got up at seven, worked pretty well all day. The Lucys came in, and in the night the rats ran away with a mutton-chop could find no trace of it, not even the satisfaction of seeing the bone. . . . 23rd. Got up late painted till five. . . . Find that, when I have painted some hours, I get tired and cannot see the colour, but can see the shape. Memo., ought not to paint too long if I want to do good. . . . 25th. Got up early and got to work late. Fumbled till twelve o'clock over the hood of the left- hand-corner figure of the knight ; made a lirlipipe for it. About twelve set to work at a small drawing of ; t had not finished it by dusk. Am a very swine shall never get the painting done in time am a beast and a sleepy brute. 26th. Finished the drawing of the hood, and a drawing of a cloak for one of the men next him, the Chamberlain. . . . * Evidently means Shakespeare's birth - house. Possibly Mr. Thomas's rather summary proposal was founded on his not believing that building to be the true birth-house. t A blank is left in the MS. 1847 OCTOBER. 69 28th. Got up at eight. Arranged the cardinal's cape again ; began a drawing of it. Lucy came in about one : made me go out with him. Did nothing more, but went to Richmond ; back with him to tea. Came home by eleven. Read Shelley, and got to sleep about twelve. 29th. Got up past nine, worse and worse ; it is horrible to reflect. Finished the cape about one. Went out to see Thomas and my aunt ; came back, and began arranging the hood for Alice Ferrers, old Edward's mistress : found the hair of the lay figure wanted curling put it in paper, and made a fire to heat the tongs, and curled it ; then oiled it. Alas ! did nothing afterwards. Went for a walk with Thomas. . . . 4th October. Got up late ; felt low and dejected, never feel happy. Got to work about twelve. Arranged the white capuchon for the lady with her back to you ; nearly finished it. ... 5th. . . . Went to Thomas to make a sketch of some vine-leaves found him at work on his designs of the Penseroso for the Art Union, but out of sorts and dejected. About three left off, and went to the cemetery at Highgate. 6th. . . . . Went out to see after stuffs, and a por- trait of Chaucer published by C. Knight; could get nothing ; tired and dejected. . . . 70 MADOX BROWN. /th. . . . Dined too late to begin anything ; went to sleep. Thomas came in, and we had a walk. He thinks of going to Cambridge, to become wise and learned in all matters. I am a brute and a sleepy beast. 8th. . . . Began, and painted the white-silk head- cushion with copal varnish and drying oil in equal parts ; find it dries quick, and does not sink in on re- touching. Went and drank tea with Lucy : engaged Miss Chamberlayne for Tuesday. Began making a green velvet hat of the time of Edward III. gth. . . . Have been suffering eight or ten days from indigestion ; live upon mutton-chops and tea and coffee, quite a teetotaler. . . . 1 2th. Finished the furred cap ; went and bought stuff for a blind, to have two lights if necessary, to give the appearance, to those figures which are not in sunlight, of being in the open air.* Lawrence did not come to put it up. 1 3th. Finished the green hat. Wrote four letters, and called on Thomas to see some sketches of his ; some fine ideas ; one in particular, a scramble for lau- rels grandly satirical. Came back to the studio, and put up the blind with Lawrence. Afterwards walked t * From a very early stage in his professional practice, Brown paid unusual attention to questions of true lighting, such as this. 1847 OCTOBER. 71 half over London in quest of draperies ; bought some crimson cotton-velvet. 1 4th. Got up at half -past seven. Miss Chamber- layne came. Worked till four, in spite of her talking propensities. Made outlines of the nude of the two figures of Muses of impassioned and satirical poetry,* and several other central figures. Dined, and called on my Aunt Brown. Walked down Hoi- born in quest of stuffs, and found some German velvet a bargain, io^d. a yard: took six yards of it for the gown of Chaucer. Came back, and am now writing this. . . . 1 6th. . . . With Thomas to the Princess's Thea- tre, to see Miss Cushman and Cooper in The Stranger, both nature to the life ; and She Stoops to Conquer, a fine -fine play. Went and supped with Thomas, and stopped till half-past one. . . . i gth. Got up at half -past five ; went to Gravesend to see my sweet child ; found her quite well. Came back, and went to bed. . . . 22nd. Got up at half-past five, got to work by seven. Painted-in the King's cloak (study). Workwoman came ; set her to make the gown for Chaucer ; myself made ears for the jester's hood, and began a drawing * So far as I remember, these figures are not included in any version of the Chaucer subject. 72 MAD OX BROWN. of it. In the evening began drawing-in the draperies of Milton on the canvas. 27th. Got up at past seven. Went out to seek for velvet and brocades : got some velvet to suit, and an old yellow satin dress ; saw some fine old brocade ; told the Jew to bring it me to my study, to bargain some old clothes against it. Came back very tired. Drew a little at the jester, and in the evening at the draperies of Robert Burns. 28th. Got up at quarter to seven; workwoman came at nine. Worked at the jester's head. At ten Master Lawrence came in, and the poor brute became insolent, and wanted to fight me because I wanted him to be off again. Had to kick him out at last ; and then he came to the window and abused me threatened him with the police. Richard Bromley came to see me on his return from Ireland,* for a few days. The Jew came, and went off sulky, because I would not give him his price and the old clothes into the bargain. Did little all day but superintend the workwoman. Went to see the Lucys : came back and worked at Robert Burns on the canvas. 29th. . . . Drew Chaucer and the old King in on * Mr. Richard Madox Bromley (afterwards Sir R. M. Bromley, K.C.B.) was a brother of Madox Brown's first wife. He was employed in relief measures during the Irish famine. 1 847 NO VEMBER. 73 the canvas. Am writing this and going to bed, twenty minutes past ten. . . . 3 1 st. Sunday. Got up very late; painted at the sideless gown, and then at the hair and cap of the trou- badour in the centre of the picture. Laid-in the study for it. Called on Mark Anthony,* stopped there till twelve. He told me that Hurlstonef had wished to get me to join the Suffolk Street set, which has been trying to regenerate. ist November. Got up at seven, felt very tired. Walked half over London : bought a portrait of Lord Byron and some yellow brocade, and hired some er- mine. Came in about three. Finished the hair of the troubadour dined, felt very tired; John Marshall came in stopped till eleven (one hour's work.) 2nd. Got up at seven, and to work by eight. Painted the study of the ermine cloak of " ye ladie with ye sideless gown " ; workwoman all day ; cut out the yellow brocade hood and cape, and muddled away the rest of the evening (six hours' work). 3rd. Got up at quarter to seven, and to work by half -past eight. Finished yesterday's work, and painted at a study of the ermine cloak of ye Black Prince, * The highly-distinguished landscape painter. t Hurlstone was then President of the Society of British Artists, Suffolk Street. 74 MADOX BROWN. and at two had to leave off in consequence of the fog which, like Foggo, was nogo.* 6th. Got up at seven; have not slept last night. What is the reason of it? Drank some tea just before going to bed. Hope I shall sleep to-night Got to work before nine, finished the hair. Arranged the lay figure for the figure in the yellow brocade hood, began painting it ; did little before four. At seven went with Lucy to a meeting of the Shareholders of the Free Ex- hibition. We both refused to be on the committee, Martin in consequence is afraid they will turn him off, poor Martin, hon. sec. !f We have written to him to say that, if they do, we will have nothing more to do with them. Marshall Claxton and his party want to make Dibdin secretary ; J what a set of muffs ! What will be the upshot of it I don't know and don't care. Went to bed at twelve (five hours' work). 1 2th. Got up at seven, and to work by nine painted at the green gown till quarter past three. . . . * There were two brothers named Foggo, historical painters of much ambition and perhaps some intellect, but deplorably bad executants. I presume that the jingle " Fogo is no go " (or something of the sort), was current among artists at this date. t This is the Exhibition (then recently established) to which Brown contributed some of his early pictures also Dante Rossetti his first two. Martin was not the celebrated painter John Martin, but a different painter, J. F. Martin. \ Claxton was a painter, already mentioned ; of Dibdin I know nothing. 1 847^0 VEMBER. 7 5 Went to see Mark Anthony about a Daguerreotype -. think of having some struck off for the figures in the picture, to save time. Came back, and set to work at a drawing of the head of Spenser : work from nine till twelve (eight and a-half hours' work). . . . 1 6th. Got up quarter to seven, and to work by quarter past eight. Worked at the study of yellow sleeve till half-past ten. Called on Thomas: came back to dine by five. He is hard at work, knocking metaphysical art on the head, and bringing each thing sentimental to a positive state. Lucy called on me ; did not get to work again till nine. Worked at the head of Byron two and a half hours (seven and a half hours' work). i /th. Got up at quarter past seven, and to work by nine. Cogitated on what I was to do till half -past ten t Drew at the Cardinal and the two ladies till two. Set to work at seven : painted the first bit on the canvas : worked till I laid-in the head and neck of Lord Byron (ten hours' work). . . . 22nd. Got up at half-past seven, felt ill. Went out on business; wasted my time, and took a walk till twelve. Came back, and worked a very little about one and a-half hours wasted my time, and dined. Martin has just dropped a note in my letter-box, which seems to say that they have ejected him from the place of secretary to the Free Exhibition : if so, we have done 76 MADOX BROWN. with it, and there is no necessity for me to get this work finished : it has rather cooled my working-ardour. Worked a little in the evening, about two hours. . . . 26th. Got up at eight, began work at half-past nine. Worked till twelve at the head of Shakespeare ; did nothing fit to be seen. Went out wretched weather. Lucy came back and dined with me. About half -past six I set to work at drawing heads, but could not work : drew one : worked little better than two hours. I have been reflecting seriously about my large composition, that I had better paint the middle compartment small for next year's exhibition, and recompose it for the large one on a grander principle. I have been reflecting on the subject, and have almost made up my mind to do so. I have sat up thinking of the new composition, to see if I could make a better one, so as not to risk sacri- ficing the present one to no purpose, and I believe I have succeeded to my satisfaction (two hours' work, two hours' thought: three wasted). 27th. Got up I know not at what time. Have been thinking about my change, and have decided to go and order the small canvas. . . . 2Qth. . . . Thought of a subject as I went along : Wiclif reading his translation of the Bible to John of Gaunt, Chaucer and Gower present. Arranged it in my mind. Called on Lucy ; saw Martin, in a precious 1847 DECEMBER. 77 stew about the Free Exhibition. Dined, came home : made a slight sketch of it (three hours' work). 3Oth. Got up at quarter to eight. Went out to see about the Museum for consulting authorities ; called on Mark Anthony ; went to the reading-room of Museum ; saw Lewis's Life of Wiclify Southey's Book of the Church. Met Lucy there in search of documents for his Landing of Puritans in New Plymouth.* Came home, dined, and sketched a little at the subject (three hours' work). I st December. Got up at eight ; went out to the print-shops and to the National Gallery. Then to the Museum ; read Godwin's Life of Chaucer. . . 2nd. Grot up at half -past seven. Went out to the British Museum ; got there by ten ; made a drawing of a Gothic alphabet ; read Knight's Chaucer. Dined, called on my aunt Brown. Set to work by eight, worked till twelve, the sketch. . . . 3rd. Got up at eight. Went to the Museum by half -past nine; finished the alphabet, and consulted Pugin on Furniture. In the evening worked at the composition till half -past twelve (five hours six hours Museum). 4th. Went to Highgate and to Gravesend, to see my sweet child. * This subject was painted, "and was well] received by the public. 7 8 MAD OX BROWN. 5th. Slept at Gravesend, and drew a little head of my beautiful babe ; it is to-day eighteen months since the death of my poor dear wife. These are thoughts that I must banish ; it unnerves me. I have dedicated the day to my child and the memory of her mother. Yesterday I brought her fuchsia down from her grave, and have given it to Mrs. Lucy to take care of for the winter. I left Gravesend by the five o'clock boat, and have come back, intending perhaps to do some work (two hours). gth. Got up at eight. The night before I had finished the drawing of the sketch. About ten I began to draw a tracing of the sketch, to make it in oil; muddled and worked and muddled till half -past three. Went out, half inclined to work no more. Came back, dined. Mr. and Mrs. Lucy came in to see me ; good excuse ; I went home with them, and stopped till one! . . . nth. Got up about eight. Set to painting by ten; painted till half -past three at the figures of Wiclif, Chaucer, and Gower, and that side of it. . . Did little good (eight hours' work). 1 2th, Sunday. Got up at eight, set to work before ten. Painted till three at the figure of John of Gaunt, etc. ; went out and dined, and spent the evening with Lucy (three hours' work). 1848 JANUARY. 79 1 3th. . . . Called on Lucy. Buss* has been bothering him about the Free Exhibition. Went with him to Rowney's : came back, dined, and set to work about six. Wasted one and a half hours clean- ing a damned pipe. Worked till eleven (five hours' work). . . 1 6th. . . . Set to work about twelve ; worked till three, chalking-in the figures on the canvas. Went out for a model, unsuccessful; got Smith coming to- morrow. Set to work about quarter-past six ; left off for want of chalk. Am writing this, and going to write damned letters for money, etc. Can do no more work for want of chalk : have been as far as Oxford Street, but can get none. Drew a little at the ornamental part of the design (four hours). 2 /th. Came up to London [from Gravesend] ; did nothing all day. Called on the Lucys in the evening. On coming home to my studio at past twelve, found a drunken man groaning in one of the workshops with a candle amid the shavings. Fetched a policeman and the master ; got him safe out. 28th. Tried to work: did nothing all day but arrange the lay figure for Wiclif, and superintend the making of a gown for Chaucer ; I am sadly idle ! . . . 1848 ist January. Came back to London and dined at Lucy's. In the evening Thomas came in, * AJpainter and book-illustrator. 8o MADOX BROWN. and we settled to illustrate Pope's Essay on Man between us ; I proposed the subject.* Came to bed by one. . . . 3rd. . . . Worked till eleven at the outline of the painting ; afterwards fiddled at a piece of poetry till quarter to one (eight hours' work). . . loth. Got up at half -past eight and to work by half- past nine ; drew my two hands in the glass for Gower's. ... .1 afterwards drew a little at one of my hands for Wiclif, when that devil Miss Chamberlayne called. Walked round Regent's Park, dined. Thomas came in, and with Lucy we went to Dickinson's Academy, Maddox Street: saw Foley there, and Paris and Salterf (five hours' work). . . 1 2th. Breakfasted in bed; drew all day at the canvas. Lucy came in to go to Dickinson's with me : found I was making my figures of Chaucer and Gower too short quite took me aback. Went and began a pencil drawing at Dickinson's. Walked home with Lucy, came back ; bought a bottle of whisky to drown care with (eight hours' work). * I am sure this project was not carried out. t The Dickinsons, Printsellers in Bond Street, had estab- lished a Drawing Academy in Maddox Street. Foley must be the sculptor of that name. Paris and Salter were painters : the former is perhaps still remembered as the inventor of " Paris's Medium." 1848 JANUARY. 81 1 5th. I went to Greenwich,* to collect rents, and to Gravesend. 1 6th. Gravesend still. Made a little study of Lucy in sunshinef (one and a half hours' work). i /th. Came back by the half-past eight boat: went to see John Bromley,! and to make a sketch of the hand of his little girl for the female in this paint- ing. . . Came back and set to work drawing at the figure of Wiclif. Went to Maddox Street; came back again at ten, and worked till past eleven (five and a half hours' work). 1 8th. Got up at half -past eight. Set to work by ten at drawing-in a hand and the sleeves of Wiclif. Began Painting. Laid-in the head and feet of Wiclif. Turned my canvases of the Poets round to the wall, so as to ,be able to admit persons if necessary. I gth. . . . Called on Mark Anthony : saw his large Village Festival in progress ; called on Lucy (five hours' work). 2 1 st. Breakfasted in bed ; got up at ten, and to work by eleven. Drew-in the head of Chaucer from myself * Brown was part owner of Ravensbourne Wharf, Greenwich. t This is probably an oil -study which I possess, and which must have been made with a view to the figure of an infant in the Wiclif picture. Lucy Brown was now turned of four years old : in the painting she might pass for still younger. } A cousin of Brown's. 6 82 MADOX BROWN. in two looking-glasses ; altered that of Gower, and reduced one of Chaucer's hands. 22nd. . . . Painted-in the sleeves and upper part of Chaucer's gown (a premier coup) \ shall not want to retouch it much, I expect ; worked till four. 26th. Wednesday. Got up at half-past eight: went out for a walk ; found it too cold. Went and be- spoke Miss Ashley, and came back. Miss Ashley came by eleven : stopped till four, let the fire out three times, and talked all day ; will never do. In the evening I worked at the head of the female, drawing it in in water-colour ; could not succeed (four hours' work). . . . 3 1 st . . . Went to Suffolk Street, to hear Profes- sor Ansted tell us that the colour of the air is blue, and that of mist grey, etc. etc. ; this they call geology ! (two hours' work). ist February. . . . I afterwards set about com- posing the furniture for my painting ; did not do much (two hours' work). Got a note from Helen Bromley, enclosing one for Miss Ensgrubber* to her, to ask my poor wife's address. Oh dear ! hers has been for upwards of nineteen months the cemetery of High- gate ; mine, this rascally barn of a studio. To think that we once had a home together ! in Paris how dif- * This was some friend of Elizabeth Brown (Bromley), much of whose youth was spent abroad. I know nothing further about Miss Ensgrubber. i Z&FEBR UAR Y. 83 ferent, and even in Rome how different! Bless you, my poor child ! 2nd. Got up at eight, worked from ten till four at composing the chair of John of Gaunt . . . 3rd. Going to set to work for about three hours at the chair. Did little good ; what a muff I am ! (three hours' work). 4th. Breakfasted in bed; set to work about ten. Recomposed the chair, and composed the lectern, and began painting it. Worked till half-past four. Walked round the Park. Set to work again at seven, when Thomas and John Marshall came in, and I did no more work. Thomas accused Marshall of having spoken about our London University project,* at the Col- lege. Marshall denied it, but said that he had heard that another body of artists had proposed the same thing about a year ago. Thomas stopped till eleven, and we drank two glasses of grog each (six hours' work). 5th. Breakfasted in bed ; set to work about half- past nine. Worked at the lectern : altered it, painted at it till four. Dined etc. A wet day ; did not go out. Began work again at seven till eight, and from nine till half-past eleven, painting at the lectern what snob- * I don't know what this project was; should suppose that it aimed at some pictorial decoration of the University building. 6* 8 4 MADOX BROWN, bish work ! (nine hours' work). Forgot to go to High- gate alas my poor wife ! . . . /th. Got up at quarter to eight; breakfasted, and went to Highgate. Had iron stakes put to the standard roses. Called on Lucy ; went to London University, to see about Capbell's bust of Potter.* John Marshall, on behalf of the Committee, commis- sioned me to make a drawing of it, for [which] I am to receive five guineas. Dined ; set to at my accounts. Thomas called in to know if I would accompany him to-morrow to a meeting of the Freemasons of the Church, to hear a lecture on Beauty by a Baronet M.P. He for the first time explained to me his views on beauty, and the explanation thereof. Wonderful fel- low ! I hardly know what to make of him, his talents are so wonderful and varied. Stopped till half-past eleven. 8th. Got up at half-past eight. Went to the Bri- tish Institution ; saw a wonderful piece of light by In- skip,t a beautiful marine by Danby (a calm after a storm with a heavy ground-swell). I stopped one half- hour looking at this picture. Lance, Frost, Copley * A matter unknown to me; I presume "Capbell " to be a mis-writing for " Campbell." It would appear that Brown's drawing was lithographed. t I suppose Inskip is practically forgotten now. He painted in a very broad method, with dark full-toned tints of brown &c. gipsies, fisherf oik, and the like.J 1848 FEBR UAR Y. 85 Fielding, etc. Afterwards I went to the University, and began the drawing of the bust ; came back after two and a-half hours' work, dined. Sam Bamford* called in, then Thomas ; when we went to hear a most absurd lecture by a Bart. beside whom was seated the Duke of Northumberland ; after which some anti- quarian controversy. . . . I /th. Breakfasted in bed ; Miss Ashley called in. Composed the chair of John of Gaunt, and began it. In the evening went to hear Leslie's! first lecture on painting : twaddle (six hours' work). . . . 2 1 st. Got up at half-past seven, walked over the Park. Set to work about ten, painting at the arch. Got a letter from my Uncle Madox,J asking me to go and speak to him in the City on business. Left off about two ; went to the City. Found he wanted to sell his one-eighth of the Tan Yard, and, if I would sell mine, he would get me 700 for it, 200 more than I thought it worth : no unpleasant news. Decided to sell it in order to buy a house. . . . 25th. Got up late. Rainy morning, did not go out. * There was some family connection between Bamford and Brown ; I have forgotten what. t Charles' Robert Leslie, R.A. ; he was now Professor of Painting at the Academy. J He was a solicitor. The Tan Yard is, I suppose, much the same thing as Ravensbourne Wharf, Brown diet not, towards this date, sell his shares in it, 86 MADOX BROWN. Set to work by ten. French Revolution * proclaimed. Worked at the balustrade, and laid-in the pavement. . . In the evening I went to see the papers, and to hear Pro- fessor Ansted lecture on geology. Afterwards went again to get a sight of the papers, and went at eleven at night to see Lucy. Found him in great excitement about Paris ; Fentonf his pupil, in a sad state about it We all three have associations with Paris. Came back, and got to bed by one (seven hours' work). 26th. Got up at half-past seven, went out before nine. Called to see Thomas, and talk over the revolu- tion. Came back to work. MaitlandJ came in by half-past ten ; worked at laying-in the legs of John of Gaunt till half -past one ; laid them in with light yellow and cadmium. Afterwards I could do nothing more, but went to see the newspaper. Called on Marshall and Lucy ; and Thomas came and took me to an artists 1 conversazione at the Bricklayers' Arms : saw Scharf, Collingwood Smith, and Oliver there. Had some * He seems rather to mean " French Republic. " t Fenton, after receiving an artistic training, took to photo graphy. At the time of the Crimean war (1854-6) he went to the scene of action, and acquired some prominence. \ A model much employed by artists towards this date. Brown wrote " Schaff " (not Scharf) : I suppose the de- signer who became Sir George Scharf, (or else his father, who was also an artist) is meant. Collingwood Smith and Oliver were water- colour landscapists. 1848 MARCH. 87 more information about the Free Exhibition. Art- Union has joined, and members must be proposed and seconded. Went in and had supper with Thomas (three hours' work). . . . 28th. . . . . Composed one of the figures for the spandrils over again ; a young girl (instead of a child) to impersonate the Protestant Faith. Determined to make the figures fill up the whole of the spandrils with- out tracery-work. After dinner composed the other figure, of the Romish Faith ; a figure holding a chained- up bible and a torch, with a hood (like the penitents at Catholic funerals) showing only the eyes, with burning fagots and a wheel of fortune for accessories.*. . . 8th March. Got up at quarter past seven. Finished the cloak ; began the woman's head-dress. My aunt Brown called in. Walked out to the Strand and Tra- falgar Square, to the scene of the riots. Came back by nine. Thomas called in. Began one of the flowers on the spandrils (nine hours). Qth. . . . Set to work at making lions and fleurs-de-lys, of paper, for the jupon of John of Gaunt till twelve (eight hours 1 work). loth. Got up at seven ; set to work sewing on the * From this observation it might be inferred that Brown in 1847 was a decided Protestant and Anti-Catholic. He may possibly have been so, and must, at any rate, have been a votary of freedom of religious thought. As I knew him (beginning in 1848), he was neither Catholic nor Protestant. 88 MADOX BROWN. arms on to his coat Did nothing (when Smith came), all day, but paint the two crimson-damask sleeves, and badly too. Set to work again about nine at the Gothic flower (eight hours 1 work, three preparation). nth. . . . . Arranged the lay figure I had made of the child ; took up much time ; did nothing more. . . I /th. Got up at quarter past seven, to work by quar- ter to nine. Painted at the ivy till quarter past two, and from half-past three till six at the damask back of the chair. Arranged the lay figure for John of Gaunt. From half-past seven till ten painted-in the ground afresh for the jupon ; yellow for the blue, and white for the red ; nothing like a good coating of white to get bright sunny colour : (nine hours* work, two and a-half arranging). . . . 22nd. Rose at seven, to work by nine. Painted-in the Page with the books, all but the sleeves. Head very successful ; rubbed out the legs. From seven till nine at moulding of frame, from half-past ten till two, modelling ornaments for ditto (ten, and three pre- paring). . . 24th. Got up at quarter past seven, to work by nine. Painted the head and one hand of John of Gaunt ; my eyes so dim and weak I could hardly go on with it.* * The handwriting of all this' part of the diary confirms the statement as to weak sight, , 1848 MARCH. 89 Painted till half -past two. Went out to the City : came back, painted the cap of John of Gaunt. . . . 25th. Got up at seven, to work by nine. Painted till twelve at the head of fair Page. Maitland came. Painted the hose of John of Gaunt; did not do, rubbed it out again. Had interruptions. Elliott, Thomas, and Rossetti called;* the latter my first pupil. Curious enough he wrote to ask me to give him lessons, from his opinion of my high talents ; knew every work I had exhibited and all about [them]. Will see what we can make of him. Worked from ten till twelve at correcting the arms of Wiclif (nine hours). . . 2/th. Got up at eight ; to work half-past nine ; till six painted the water behind the pages, etc., and the heads of the two boys, with part of the railing : heads in shadow very difficult. Dined and walked out, and wrote two notes. Set to work by nine, designing orna- mental work for the spandrils, and also the figure of Catholicism, much to my satisfaction, till eleven o'clock. Writing this, and mean to work one hour more at the spandrils (eleven hours' work). . . * I do not recognize the name Elliott ; a later entry shows him to have been a painter. Rossetti, whom we here find for the first time in Brown's narrative, is of course Dante Gabriel. No account is given of the first interview of all, when Brown (as related elsewhere) called round at Rossetti J s house with a " thick stick." The letter from my brother, March 1848, which led to tha,t interview, has been published. 9 o MADOX BROWN. 2nd April. Got up at seven, to work by nine. Till twelve, at the head of John of Gaunt from Smith (bad) : glazed a sleeve, and the blue velvet of the same. Painted at the head of Chaucer from Hewlett from three till six (bad). Worked from nine till ten at setting the lay figure for the monk's draperies, drew part of them till quarter to twelve (eleven hours). . . 5th. Got up at six, to work by seven. Till ten at the shoes of Gower, and the steps ; from half-past ten till half -past one at the head of Wiclif from Krone ; eyes so dizzy obliged to leave off. Went for a walk, bathed my eyes ; began again at three till six not the thing. Dined, went to sleep. Mr. and Mrs. Lucy called in. Set to work at ten, at one of the cinqfoil ornaments. Have not yet finished it, twelve o'clock ; must finish it before I go to bed finished it by one (twelve and a half hours' work). 6th. Got up at half-past six ; to work, by a quarter to eight till one, at the figure of Wiclif. Glazed his gown and part of his cloak, and repainted a long time at the head. Eyes very bad ; walked out over the Park. Began again at the head at two till three; then painted till six at the hands of John of Gaunt. Lucy came in, and drew-in the figure with lily in the span- dril. I began work again at nine, at one of the cinq- foils ; finished it by eleven ; must try and do the other and last one. Did nothing more (eleven hours). 1848 APRIL. 91 /th. Got up at quarter-past seven ; to work by half- past eight at the third head of Chaucer ; made it worse than before. Had Mrs. Yates for it. Worked till eleven at it quite horrible. Afterwards painted the two hands rather well ; then painted the hands of Gower and one foot of Wiclif pretty well. John Marshall called in : talked a great deal about the approaching revolution ; what is to be the upshot of it ? Thomas called in. I set to work again at half -past nine till eleven, and drew-in the figure in the spandril with the lily (ten hours' work). . . 1 4th. Up at seven ; to work by eight. Painted the head of Wiclif till half -past ten from old Coulton. My uncle Madox called at twelve. Began retouching the arch ; worked at it till six. Went to the Free Exhibi- tion : began painting the female in the spandril at nine : worked till half past twelve (eleven hours 1 work). 1 6th. My birthday; twenty-seven to-day, alas! Got up at seven ; to work by eight. Painted the red cross and rosary of Chaucer, then the hose of the Duke. Muddled at them; could not succeed. In despair rubbed them out again partly, and made them another colour, yellow and grey. Will do, must do y but not very well. Glazed the archway, and began marking- in the stones. Did a little to the cloak of Wiclif, and the hassock of the female. Began work again by eight 92 MADOX BROWN. till two in the morning ; painted a host of little odds and ends (fifteen hours). 1 7th. Got up at six; to work by half past eight. Finished the Pages and Chaucer and Gower and Wiclif : painted the green rushes : finished the ground, the reading-desk, and the female's chair. In the evening painted at the letters from nine till eleven. Then again at the female and the mosaic work till four in the morning (seventeen hours). 1 8th. Got up at six ; to work by half past seven. Repainted the whole of the flesh, glazing the shadows with yellow lakes and madder, and repainted the lights with their white tints. At three began at the general effect. Worked till half past six, then again till three at the mosaic work and sundries (eighteen hours). igth. Got up at six : set off with my picture to the gallery, Hyde Park Corner. Got there by nine. Ten o'clock before framed, and that did not fit. Thought I had all day to work, but found we were all to decamp at ten. Got leave to wait till the sweeping was done, and set to work again at twelve till six. Improved the general appearance much by glazing etc. Slept next door at a tavern, to be able to be at work next morn- ing at six, to finish it before the private view (six hours). 2Oth. Up at quarter to six ; to work by half past. Painted at the hose of John of Gaunt, and put-in some 1848 MAY. 93 fe^i- ;-... ; trees too green. . . Then fetched Thomas for the private view. Afterwards spent the evening and slept at Bamford's (four hours). 2 1 st. Went to the gallery at about eleven: re- painted at the trees till two. 4th May. Had my pupil Rossetti here ; working for about six hours on a head, to show him (six hours). 6th. Got up at half past six. Began work at nine till five from Maitland : began a study of his head in sunlight, and painted the black silk legs for Shakespeare and Milton* (eight hours). 7th. Got up at eight; to work by nine till four. Did little but a drawing (of his head) for the courtier next to the one in the yellow hood in the foreground, for which also is the study in oil (six hours). 1 7th. Up at five. Six till eight at the study of Mrs. Yates [a hand] : the rest of the day made alterations in the figure and head of Lord Byron (eight hours). 1 8th. Up at five. Six till eight at Mrs. Yates. Walked till eleven with Thomas. Had an argument ; tried to persuade him that, to imitate the true tone of the model, it must be painted so that, when held up beside it, it would not be like it in colour. Did nothing * It will be seen that Brown, having now consigned to the Free Exhibition the moderate-sized picture of Wiclif and John of Gaunt > resumed work on the large Chaucer and its accessories. 94 MAPOX BROWN. but try to write down what I had been speaking of ; afterwards went to see Lucy. . . 22nd Up at half past eight ; to work by eleven. Altered the head of Burns, and drew-in that of Pope. Walked over the parks with Thomas (five hours' work). 1 5th June. Cleaned the dog, and shaved his head and paws. . . 1 7th. They want to engrave Wiclif for The Peoples Journal.* Laid-in skirt of Robert Burns's gown; worked about four hours till five o'clock. Called on proprietor of People's Journal ; supped at Mr. Bamford's. . . 25th. Came back. Heard of the revolution in Paris ; spent the evening with Lucy. . . 1 7th July. Went to Paris, to see my old friend Casey,t and buy a lay figue. Did both; enjoyed myself much. Painted a portrait of Casey : worked about seven hours at it. Came back to London on the 6th [August]. 28th August. Set to work, about half -past two till six, at the architecture of the Byron compartment ; * William and Mary Howitt were much connected with this publication. t Daniel Casey was a painter, of Irish birth or extraction, settled in Paris. Brown had a good opinion of his abilities, within certain limits. I own a small oil-picture of his horsemen abducting a woman spirited in action. He died towards 1888. 1848 SEPTEMBER. 95 afterwards at the same by lamp-light. Thomas has begun working by night in my studio. . . . 30th. Walked out over the Park; then to see Lucy. He told me of another kick-up at the School of Design : he had been applying for one himself ; I began to think of it.* Called to see Thomas, and talked the matter over : worked but little at the archi- tecture (three hours). 3 1 st. Set to work about twelve till two, and from three till five, at the architecture. Rossetti called with Hunt,t a clever young man (three hours). loth September. Read Keats, \ and spent the day with Thomas. nth. 111 in bed with a bad cold ; Lucy called. . . . 1 3th. Up late ; could not get to sleep. Out to see Thomas : could not get well ; who knows but it may be the death of me? Damned wretched, but only because not occupied. 2 1 st. Started for the Lakes of Cumberland in com- pany with Lucy : saw the Exhibition of Manchester. 25th. Began painting a view of Windermere : * I do not think that Brown ever applied for a mastership in the Schools of Design, under their old regime* He did so (as shown further on) under the new regime. t Holman Hunt, of course. | I fancy this may have been Brown's first acquaintance with Keats. Dante Rossetti may have set him going. Towards this same time Millais began his first " Prseraphaelite " picture, from Keats's Isabella. 96 MADOX BROWN. worked six days at about four hours a day, last day in the rain under an umbrella. 2nd October. Started on foot for Patterdale ; then over the mountains past the Greenside lead-mine to Keswick. 3rd. Through the Borrowdale pass to Wast-water. 4th. Rain all day ; stopped there. 5th. Started in the rain over the mountains by Eskdale to Windermere. 6th. By rail to Liverpool. Saw my Wiclif there up high : looked damned bad. /th. To Chester, thence to Birmingham ; saw Exhi- bition, and back to London that night. 8th. Went to Gravesend to see my darling. gth. Went to City ; afterwards painted at my view of Windermere at the sky (two hours' work). loth. All day writing a letter to Builder about Thomas. . . . 1 2th. Began a portrait of R. Bromley's daughter (four hours). 1 3th. Portrait not dry enough to go on with. Sent for Mrs. Ashley and child, and began a sketch of them for a little picture of a mother and child.* Made a sketch in the evening, in black and white, of the view of Windermere (three hours' work). * The picture is, I think, the one which was afterwards named The Infant's Repast (sometimes here spoken of as Mother and Child}. 1848 NO VEMBER. 97 1 4th. Laid-in the view of Windermere with a thin coating of asphaltum, and white for the high lights : drying-oil and copal. After dinner sketched the out- line of a small sketch for Mother and Child \ after tea worked on the helmet and sword of Lord Byron* (eight hours' work). 1 5th. Painted a sketch of the Mother and Child-. in the evening worked at the Byron's sword (seven hours). 1 6th. Worked at the portrait of John Bromley about four hours. . . . 1 8th. Went out with Rossetti to see his picture.t 28th. Painted other arm of Julia Bromley (two hours), and in the evening wrote a defence of Thomas's Lectures for The Builder.* . . . 3 1 st Wrote all day at the letter to 'Builder. . . . 4th November. Tooth all day; in the evening wrote about influences of antiquity in Italy. . . . 1 2th. Did very little; painted a copy of Lucy's head || (two hours). [ * For side-panel of the Chaucer picture, t The Girlhood of Mary Virgin. t I do not know what the lectures may have been, nor what Brown wrote about them. See the entry for loth October. This may, I suppose, have been a portion of what Brown was writing regarding Mr. Thomas's lectures. H I think this means a' copy of a head of his daughter Lucy, painted in her early infancy towards 1843. 7 98 MADOX BROWN. 1 3th. Drew a portrait of Mrs. Ashley's baby, and wrote in the evening on Italy and Art (three hours). . . 1 6th. Worked at the little picture: laid-in the background, and altered the legs of the child. In the evening thought a great deal about the subject (four hours). 1 7th. Wasted half the day, and composed Lear and Cordelia* 1 8th. Went to Pratts's, and subscribed for armour and old furniture : tried to work, but did little. . . . I gth. Began work late; composed ~Lear and Cor- delia (six hours). 2Oth. Wrote an answer to " Amateur " in The Builder, and started for Gravesend. 2 1 st. Came home by 8 p.m. Drew at sketch of Lear (three hours). 22nd. Went to Pratts's. Set to work at one till half-past three at the mirror ; spent the evening study- ing grammar (three and a-half hours). 23rd. Began work at ten till half-past three, at mirror and gilt leather : asphaltum, cadmium, lemon- yellow, ivory-black, sienna, etc. ; magilp and copal. In the evening worked at the composition of Lear and Cordelia (six hours' work). . . . * The composition for the oil -picture of Cordelia at the Bedside of Lean not to be confounded with other Lear subjects (at least two) which Brown executed at later dates, 1848 DECEMBER. 99 25th. Up late. To work by eleven till one at the gilt leather. John Marshall came in : did little more but arrange a bunch of keys, and begin them. In the evening worked at the Lear, but have not yet settled it (five hours). 26th. . . . In the evening worked four and a-half hours at Lear ; going on well (eight hours). 2 /th. . . . In the evening wrote three notes, and worked from seven till eight at Lear; finished the out- line of the sketch (five hours). . . . 30th. Painted at the sketch. Went with Lucy to see Elliott's picture and Rossetti's (four hours). . . . 5th December. Spent the day in divers ways ; bought a large oak door, and scraped it with glass, and varnished it ; in the evening composed the panels of the little picture (three hours' work). 6th. Had a King Charles spaniel ; paid 45. 6d. for it. Painted it in three hours : evening, began chalking the outline of the Lear on canvas (seven hours' work). 7th. Painted at the panel five hours. In the even- ing had a model, to draw the nude of Cordelia (seven and a-half hours). . . . igth. Bought mittens and a rose, and made a fan ; arranged it, and began the gown. In the evening Mait- land for two hours : sketched the figure of Lear (seven hours). . . . 3 to Woolner* I sat down to think as to a subject for a poem, and without much trouble invented one, but it is as yet very incomplete and meagre. I com- posed 2 1 lines of it in blank verse. . . . Thursday 2Oth. I had letters from Woolner and Gabriel. Woolner . . . says that he is to receive the money for Eufhrosyne from Cottingham to-day ; and that Cottingham has actually advised him to execute in marble the figure of St. Luke which j Gabriel designed some time back for the picture he contem- plated doing of St. Luke preaching, with pictures of Christ and the Virgint. . . . Gabriel writes that a printer named Haynes, a friend of Hancock,? has introduced him to Aylott and Jones the publishers, who are quite willing to publish the Monthly Thoughts, on condition of a percentage of ten on the sale ; and that Deverell is making enquiries! as to the equity of this demand. . . . Sunday 23rd. A letter arrived from Woolner, in- forming me that, as difficulties in keeping back the ardour of our new proprietors begin to rise up, he and Gabriel have determined on at once making me * I was now at Cowes, along with James Collinson ; soon after- wards 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. t Not executed. } A sculptor then of some mark and promise. 1849 SEPTEMBER. 221 Editor, and that the prospectus has been sent off to the printer's with my name accordingly, and the title altered to Thoughts towards Nature (Gabriel's idea), to obviate the many objections that have been made to the old title; that he was to dine to-day with Patmore,* who had read his poems, and praised them so much that he won't tell me what he said; that he has just returned unsuccessfully from Cotting- ham; and that he doubts whether he and Gabriel will join me here, considering the heavy travelling- expenses. I answered him, pointing out several reasons why I think the proposal of publishing my name as Editor should be well reflected on before being carried out. . . . Tuesday 25th. I had a letter from Gabriel in answer to my last to Woolner. He says that the words " Conducted by Artists," recently proposed to be inserted in the title of our magazine, are now to be left out; and that therefore, as he thinks, there is no further ground for arguing the question of my name being published as ^Editor; that a definite agreement has been made with Aylott and Jones, * 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. Patm ore 'also belonged, 222 THE P.R.B. JOURNAL. the publishers, and that the prospectus is now being printed ; that the ist No. will not appear till Decem- ber; that he wrote the preceding night to W. B. Scott, requesting his co-operation ; and that Patmore has seen and appears much pleased with the prospectus, and has given us a little poem named The Seasons for our ist No., but with the proviso that his name shall not transpire, as he means to keep it back in all instances till the appearance of his new volume. He praised Woolner's poems immensely, saying however that they were sometimes slightly over-passionate, and generally " sculpturesque " in cha- racter. . . . Gabriel and Hunt are to start shortly for the continent. . . . Wednesday 26th. . . . Another letter from Gabriel, saying that, as further delay in starting would inconve- nience Hunt, they are to set off for France and Belgium to-morrow; and that they will, if possible, pass through Brittany, either going or returning, to see Charles Wells*. . . . Tuesday 27th. I had a letter, with a message from Gabriel in answer to my enquiries, that the table of contents for No. I of the Thoughts remains as before settled, with the addition of Patmore's poem and Stephens's paper on Early Art . . . ; also that several are proposing to alter the title of the magazine * This was not done. 1849 OCTOBER. 223 to The P.R.B. Journal, and desiring me to write my opinion on the subject to Stephens. This I did accordingly, representing many objections which appear to me quite decisive, especially connected with the share in the magazine of some who are not P.R.B/s. I also wrote Gabriel in the same sense, requesting his and Hunt's views of the matter. In these letters I brought up an old proposal to get " P.R.B." printed somewhere on the wrapper a course to which the same objections do not apply. I did 1 1 6 lines more of my poem. . . . Friday 28th. Gabriel left yesterday morning with Hunt for the continent. . . . Monday, October 8th. Collinson, to whom I went in the evening, is getting on with his Emigrant's Letter; he has done a considerable part of the window and its adjuncts, finishing up the trees outside to a pitch of the extremest minuteness ; he is advanced with the heads of the boy writing, and the girl. He has made a sketch in colour for the picture, and has introduced another boy looking over the one writing. . . . Wednesday loth. A letter came from Gabriel, who gives me an elaborate criticism of my blank- verse poem, and sends me five sonnets he has written the first suggested by hearing the bells while ascending to the summit of Notre Dame; the second written 224 THE P.R.B. JOURNAL, leaning against the July Column, and musing on the Place de la Bastille ; the third concerning " the rate of locomotion which the style of the Old Masters induces in Hunt and himself at the Louvre " ; the fourth on a picture by Giorgione, of two naked women and two men with musical instruments; the fifth excited by the disgust he experienced at wit- nessing the cancan at Valentino's. In reference to this last scene, he declares Gavarni to be " a liar and the father of it." He has been to see the working of the Gobelins tapestries, which has so altered his ideas concerning the matter that he says he shall probably make an entirely new design for Kate the Queen,* when he is prepared to paint the subject. . . . Saturday I3th. At Stephens's I saw Hunt's and Gabriel's letters. The former says that they are to leave Paris on Saturday for Brussels. The latter sends three sonnets the first, Whilst waiting for the train to Versailles y being imitated from the intro- duction to Tennyson's Godiva; the second, On the road to and in the Garden of Versailles ; the last, On a Dance of 'Nymphs by Mantegna. . . . Sunday I4th. I read through Joseph and his Brethren, which is a glorious work, but, in passages, * The composition of Kate the Queen included various figures of women occupied in tapestry or embroidery work. 1 8 4 9 NOVEMBER. 225 decidedly too full of images, laboured description, &c. From my old schoolfellow Nussey to whom I went in the evening, and who is to subscribe to the Thoughts, and get as many subscribers at Oxford as he can I heard some particulars of the poet Clough,* who had been Tutor in the College to which he (Nussey) belongs. . . . Monday I5th. I called at Millais's house, and was told that the period of his return is quite undecided. He is now at the house of a Mr. Wyatt,t having left Mr. Drury's some weeks ago who offered to fit up for him a suite of apartments where he might establish himself and work.-^-Ford Brown, to whose study I went in the evening, and Cave Thomas whom I met there, will subscribe. . . . Thursday i8th. Woolner . . . has begun a medallion portrait of Patmore, who has given him three sittings, beginning on Sunday, and who says he thinks he may probably induce Tennyson, when in London, to sit to him likewise. . . . Being alone together (with Hunt, Millais, and Gabriel, out of hearing), we had some conversation concerning republicanism, universal suffrage, &c. . . . Thursday, ist November. In the morning Gabriel * I was then writing, or intending to write, for The Germ, a review of Clough's poem named The Bothie of Toper-na-fuosich. t In Oxford. 15 226 THE P.R.B. JOURNAL. called on Millais, and saw a design he has made of the Holy Family. Christ, having pricked his hand with a nail (in symbol of the nailing to the cross), is being anxiously examined by Joseph, who is pulling his hand backwards, while he, unheeding this, kisses the Virgin with his arm round her neck. Millais thinks of paint- ing this for the Exhibition*. . . . Friday 2nd. Woolner's " character " was sent him by Donovan.! It embodies generally the observa- tions he made at the time of the consultation, and ascribes to him a large amount of caution, which Woolner considers to be a correct judgment. In some points, however, he appears decidedly mistaken. After discussing this, we went together to Coventry Patmore's. The first thing we heard was that his doctor had forbidden him to write in the evening for some time. He is now about to read up for two articles on Russia he intends to write for The 'North British and The "British Quarterly respectively. He says he has some doubt whether one of the little poems he has given us for the Thoughts which of them he is not certain did not appear in some musical magazine. We had an argument as to whether Browning would be the man some twenty years hence, Patmore expressing an adverse opinion. * He did so the picture currently termed The Carpenter's Shop. t A Phrenologist, then well known. NO VEMBER. 2 2 7 He remarked that Browning appears to him like a chip from a very perfect precious stone ; intense, but not broad in range of subject, nor sufficiently finished. He considers A Soul's Tragedy to be a splendid title spoiled (!). Sordello he has never read. Paracelsus he admires with a reservation. Two of the short pieces he particularly remembers with pleasure are How they brought the good news from Ghent to Aix, and Saul. ... He does not place Browning so high as Tennyson. I saw Tennyson's MS. book of elegies on young Hallam, which are to be published some day. . . . Tuesday 6th. Looked over a house in Cheyne Walk, Chelsea,* with which they, and Stephens who was with them, were greatly taken. It is capable of furnishing four good studios, with a bedroom, and a little room that would do for a library, attached to each. There is also an excellent look-out on the river. The rent, 70. In the evening, we all (except Millais) congregated at Woolner's, and discussed the matter. Gabriel, Hunt, and myself, think of going at once, and Stephens and Collinson would join after April. We think likewise of 'getting Deverell. " P.R.B." might be written on the bell, and stand for * 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. 15* 228 THE P.R.B. JOURNAL. " please ring the bell " to the profane. Among other subjects, we spoke of not admitting anything at all referring to politics or religion into our magazine, and decided on cutting out the sonnets for the Things of these Days* we have hitherto intended to insert in the first number. . . . Wednesday /th. This was the evening fixed for Millais's and Gabriel's introduction to Patmore, at Woolner's study. Gabriel and I went, and Patmore came, but Millais appeared not. We conversed a good deal of Woolner's poems, which Patmore says are so good that he is surprised they should not be much better. He insists strongly on the necessity of never leaving a poem till the whole of .it be brought to a pitch of excellence perfectly satisfactory; in this respect of general equality, and also in regard to metre, he finds much to object to in Woolner's poem of My Lady y and considers that these defects are far less prominent in some passages of Friendship^ that were read to him. Henry Taylor, he says, ought to devote ten more years to Philip Van Artevelde, and it would then be qualified to live. He himself spent about a year (from the age I of sixteen !to * One sonnet thus entitled has been already named. It had ap- parently been intended to use the same title as applicable to a series. t Another poem begun by Woolner. It remained, I think, a mere fragment. 1849 NOVEMBER. 229 seventeen) on The "River, with which, and The Woodman's Daughter, he is contented in point of finish. Lilian and Sir Hubert were written in a great hurry for the Publisher. He read Gabriel's sonnets on Ingres's picture of Roger and Angelica, and was much struck with the character they possess of being descriptive of a painting. . . . Thursday 8th. Deverell will manage to join us at once in the house at Chelsea ; but on reflection the expense begins to look rather formidable. I called on Millais, to ask him to Patmore's. ... I saw his design of Christ in his childhood, to be painted for the next Exhibition, and the calotype made of his last picture. . . . Patmore, talking of Philip Bailey, remarked that he seems to be " painting on clouds, not having his foot on reality." Burns he considers more perfect than Tennyson. Gabriel wrote three stanzas of Bride- Chamber Talk. At Patmore's we heard of the reported death of Edgar Poe, concerning which some suspicions of suicide exist. Friday gth. ... As the feasibility of taking the Chelsea house looks very questionable now, con- sidering the expense, Gabriel and Hunt spent all the early part of the day looking for lodgings and studios about Chelsea, Brompton, etc. Saturday loth. Gabriel found a studio at No. 72 Newman Street. The rent asked is 30, but he sue- 230 THE P.R.B. JOURNAL. ceeded in bringing it down to 28. He is to see further about it to-morrow. He wrote to Hunt to ask whether he can join him in his tenancy. . . . Sunday nth. I went to Millais in the morning, and find that he has altered the position of the legs of Ferdinand. Last night he wrote some stanzas of his poem, of which he says he has now done certainly upwards of a hundred lines perhaps much more, as he has never counted. In the afternoon Gabriel came, and read all the poetry he wrote abroad. He had been to Newman Street, and decided on taking the study. We went to Harris's* in the evening, and were told that he had occupied the same study some time at a rent of 40, whereas Gabriel has made the landlord accept 26. . . . Monday I2th. . . . Woolner has been hard at work these two days on his new figure in sculpture, which he has blocked out in clay. Patmore called on him yesterday, and talked of my poem,t in which he finds a most objectionable absence of moral dignity, all the characters being puny and destitute of elevation. He means nevertheless to read it * John Harris was a painter of some promise, who about this time took a great interest in Egyptian antiquities. His face is very exactly re-produced in Millais's picture of Lorenzo and Isabella the brother who is kicking out at a dog. He died towards 1853. t The blank verse poem previously mentioned. In 1849 it went under the name of A Plain Story of Life. 1 849 NO VEMBER. 23 1 through again, that he may be able to judge of it in detail without looking so much to the scope or want of scope. These are very much the objections that we had all foreseen, and acquiesce in. ... Thursday 1 5th. Gabriel got the paper stretched for of his study. He and I saw Hunt, who has suited himself somewhere in Bayswater. . . . Thursday 1 5th. Gabriel got the paper stretched for the nude cartoon he intends to make for his picture of the Passover, and began drawing the figure of Christ from a little boy whom Collinson discovered some time ago, and whom he has painted in his Emigrant's Letter. Gabriel wrote to Miss Atwell to come to- morrow, as he wants her for the figure of the Virgin. We went in the evening to Calder Campbell,* who offers his services for our Magazine, and will hunt up subscribers. . . . Sunday i8th. Gabriel began at his design for Paolo and Francesca, but did scarcely anything. We therefore read away at Browning, Tennyson, Lowell, and the Stories after 'Nature. Monday igth. Gabriel was occupied about his design. . . To-night was a P.R.B. meeting at Millais's, at which we were all present with the exception of * Major Calder Campbell, a retired officer of the Indian army and light litterateur, was a very cordial friend of my brother and myself in youth. 232 THE P.R.B. JOURNAL. Woolner. . . Millais means to make the spirits in the air* half human and half like birds. His brother has begun painting a little from still life etc., and Millais intends to get him to do landscape-pieces. Hunt has gone on with his etching. Stephens is still engaged during the day at the Museum. He offers to draw-in the perspective scale in Gabriel's picture. . . . We discussed two or three points concerning the magazine. First, that of advertising; and it was unanimously considered that, as anything of the kind would, to be effective, swallow up some 10 or 15 without doubt, it will be as well to drop it altogether. In the second place, as regards the big " P.R.B." printed at the head of the prospectus. To this Hunt now most strenuously objectsf. . . After our return Gabriel continued making sketches for his design. He intends that the picture should be in three compart- ments. In the middle, Paolo and Francesca kissing ; on the left, Dante and Virgil in the second circle ; on the right, the spirits blowing to and fro. . . . Thursday 22nd. Patmore, Cross, Millais, Gabriel, and myself, were at Woolner's; Hunt did not appear. A long argument was maintained con- cerning poetry Patmore professing that Burns is a greater poet than Tennyson, in which opinion Tenny- * In the picture of Ferdinand lured by Ariel. t Hereabouts comes a tatter of the MS. NOVEMBER. 233 son himself fully concurs. Patmore instanced, as a line of unsurpassable beauty, " With joy unfeigned brothers and sisters meet," from The Cottar's Saturday Night. He says that Tennyson is the greatest man he ever came in contact with, far greater in his life than in his writing perfectly sin- cere and frank, never paying uncandid compliments. Browning takes more pains to please, and is altogether much more a man of the world. Patmore thinks that Browning does not value himself at so high a point as he is rated by Gabriel and me. Patmore holds the age of narrative poetry to be passed for ever, and thinks that probably none such will again appear ; he considers Peter Bell, though most vexatiously imperfect, to be the opening of a new era. He looks on the present race of poets as highly " self-conscious " in comparison with their predecessors, but yet not sufficiently so for the only system now possible the psychological. The conversation taking a religious turn, he said that the devil is the only being purely reasoning and analytic, and therefore is the devil; and he would have every man hold to the faith he is born in, as, if he attempts to get beyond its bounds, he will be far more likely to be a rebel than a seeker after truth,* and should not attempt to pull down * This is somewhat noticeable. Patmore, who became a fervent Roman Catholic towards 1863, was in 1849 a strict and indeed prejudiced Protestant. 234 THE P.R.B. JOURNAL. without having something to build anew. He thinks Millais's picture far better than anything Keats ever did,* and that he is adapted to usher in a new style which will eventually educate the people into taste, and make his works some day as popular and saleable as Barraud's We Praise Thee, God.^ One of the chief curses of the day he considers to be that every one is critical. Of the poets of this and the last generation he says that they are " all nerves and no hearts." He fraternized with Cross, in whom he sees some resemblance to David Scott, the recently dead brother of W. B. . . . We had some talk of ghosts, to a belief in which Patmore does not see any obstacles. Millais related a singular story on the subject he heard at Oxford, and Woolner some experiences of his own immediate relations and friends. Millais, as we walked home, unburdened himself of his obser- vations and conclusions, and declared that, if he had seen Patmore's hand alone cut off, he could have sworn to it as that of a man of genius. His sayings concerning Burns, Keats, Tennyson, etc., are bitter in his belly as wormwood. Gabriel and I sat up to read the Cottar's Saturday 'Night, and failed to * The picture referred to is, I suppose, the Lorenzo and Isabella. t 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. 1849 DECEMBER. 235 realize to our apprehensions its extraordinary excellence. . . . Saturday 25th. Gabriel began making a sketch for The Annunciation. The Virgin is to be in bed, but without any bedclothes on, an arrangement which may be justified in consideration of the hot climate ; and the angel Gabriel is to be presenting a lily to her. The picture, and its companion of the Virgin's Death,* will be almost entirely white. At Stephens' two Tuppers only were present. John Tupper read his poem, which is exceedingly clever :f it borders nevertheless on the ultra-peculiar. . . . Hunt, who came late in the evening, is getting on with his etching, of which there remains now not much to be done. . . . Friday, December ^th. . . . Just as Tennyson was leaving, Patmore fixed him, and made him promise to sit to Woolner. . . . Millais has re- designed the subject of Christ in Josephs Work- shop ; the picture of Ferdinand is not very far from finished. Saturday 8th. Gabriel had Maitland to sit to him for the angel Gabriel in The Annunciation. He has recently written various new stanzas of Bride- * The Virgin's Death was never painted. t I think this was the grotesque poem named An Incident in the Siege of Troy, published in The Germ, 236 THE P.R.B. JOURNAL. Chamber Talk. Woolner came in the evening, when Gabriel read The Princess through to him, and both of them pronounced it the finest poem since Shakespeare, superior even to Sordello. To this latter opinion I demur. . . . Monday loth. . . . Collinson, after he shall have finished his paintings for this year, means to set to work on the subject of St. Elizabeth of Hungary taking off her crown before the crucifix. We talked about the magazine, and are quite unanimous in con- sidering that the first number must appear ; but all except Stephens and myself are somewhat inclined to drop it after that, whether successful or not. We are also disposed to abide by the title Thoughts towards Nature, notwithstanding Cave Thomas's proposal of The Seed. We debated the propriety of having an article explanatory of the principles in Art of the P.R.B. ; but, as so many papers in the first number are to treat of Art, and as the point will necessarily be brought forward incidentally, it is not thought needful. Thursday I3th. . . . Patmore was at Woolner's last night, and read him Poe's tales to his own great satisfaction. He considers Poe the best writer that America has produced. He is in a state of some indignation at a book that has been lately published in America by Thomas Powell; wherein himself, 1 849 DECEMBER^ 237 Tennyson, Browning, and others with whom he is not conscious of Powell's having ever met, are spoken of. Gabriel showed him My Sister's Sleep, which he approves in respect of sentiment, but says that it con- tains several lines that will not scan, and that it is too self-conscious in parts, as in the " I believe " of the first stanza, and in " I think that my lips) did not stir." Among the new things Tennyson is putting into The Princess are, I was told, passages to show where one person leaves off and another takes up the story ; the alterations will be not in abridgment but in extension. He is to leave London shortly for a little while, and to return about Christmas, close upon which the new edition of The Princess will be published. . . . Saturday I5th. . . . We settled to print the magazine with George Tupper. An objection was raised by Stephens to the publication of his name, and it was arranged that the question should be submitted to the arbitration of the P.R.B. . . . On making out a list [of the materials actually at our disposal, we find that we have enough for the second and half of the third numbers, by making a somewhat different arrangement from that at first contemplated ; as there is some fear of Gabriel's being unable, through press of time as regards his picture, to get the Bride-Chamber Talk finished for number two. . 238 THE P.R.B. JOURNAL. Woolner was prevented from coming to Stephens 1 by having a ! sitting from Tennyson for to-night. . . . Sunday i6th. . . . Gabriel . . . drew a little on the design of Giotto fainting Dante's Portrait, which he is finishing up for Stephens. Millais dropped in, and says he has been again to the Carpenter's shop for the picture of Christ in his childhood, and that he will begin at it on Thursday. ... In the evening Stephens came to Gabriel's study to do his perspec- tive. . . . Monday i/th. . . . Gabriel . . . resumed writing at his tale, Hand and Sou/, and did some little in con- tinuation. Woolner ... is to have a sitting again to-night from Tennyson. . . . Tuesday i8th. Woolner not having made his appearance, I went again to try my chance of finding him, and at last succeeded. His delay has arisen from the second part of his poem not having yet been copied out or considered for final revision. The former task I performed, and the latter was achieved by our joint exertions. His medallion of Tennyson is well forward, the head requiring but little more: the hair, however, is only begun. It will have to be suspended for a short time, as Tennyson has left town, and will not be back till about Sunday, when he thinks of remaining for a month or so longer. His poem of King Arthur is not yet commenced, 1849 DECEMBER. 239 though he has been for years past maturing the con- ception of it; and he intends that it should occupy him some fifteen years. His poem, " Thou might'st have won the poet's name," was, he says, written in a fit of intense disgust after reading Medwin's book about Byron. He has seen the poem I have reviewed in our first number, The Bothie of Toper-na-fuosich y and considers it to be execrable English. He likes Woolner's bas-relief of Iris, but says he cannot under- stand the Puck* Gabriel began to paint the head of the Virgin in his picture of The Annunciation. Wednesday igth. I delivered to George Tupper Woolner's poem and Patmore's Seasons, with which he will make a beginning ; but he warns me that we must get our materials together with all possible speed, as, next week being Christmas week, it is almost impracticable to get his people to work. In the evening we had a meeting in Gabriel's study, where, besides the whole P.R.B., the two Tuppers, Deverell, Hancock, and Cave Thomas, as being persons interested in the magazine, were present. The latter brought the commencement of an opening address he is writing for No. I. . . . Ford Brown came in at a late hour, and showed us a sonnet which he has composed on The Love of Beauty, and which * This was an early work by Woolner ; I should say a good one, and easy to " understand. " 2 4 o THE P.R.B. JOURNAL. we will find room for in the first number. I gave George Tapper my review, which will (he calculates) occupy at least some eighteen pages ; also our sister's poem of Dreamland. It was proposed by Woolner, and carried without opposition except a very strong one by myself, that our names should not be published ; and another point in which all present came to the vote was the title to be finally adopted. The Seed was set aside in favour of The Germ; and this was near being superseded by The Scroll (also Thomas's invention),* but was finally fixed on by six to four. Gabriel is to do his best to have Hand and Soul completed in time. His morning had been devoted to painting on the Virgin's head. Thursday 2Oth. Gabriel set hard to work at Hand and Soul ; or at least the spirit was willing, but the flesh was weak against Maitland in the morning, who was engaged in putting together a screen, and against Clayton, North, and Bliss, in the evening, t Friday 2 1st. . . . I went to Seddon's, where Cave * 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. t 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. 1849 DECEMBER. 241 Thomas had arranged to meet me with his contribu- tion ; but, as he did not come, ... I called in at his house. I found him writing the last words of the prefatory address, which I took with me. . . . Gabriel had been all day at his tale, and sat up at it all night as well, without going to bed. By this means he was enabled to finish the narrative, and nothing remained except the epilogue. I copied out such part as required it to be fit for printing. . . . Saturday 22nd. The proof of the first sheet . . . comprises Thomas's address, Woolner's poem, Brown's sonnet, and begins Tupper's contribution. As Woolner's poem commences at the back of Thomas's address, and as it is thought desirable that the etching should front what it belongs to, we agreed that it should be inserted opposite the first page of the poem, instead of immediately inside the cover. Sunday 23rd. Gabriel . . . has again got some idea of painting the subject of Francesca of Rimini, instead of what he is now doing ; making an alteration in the action, and relinquishing, for want of time, the two proposed side-pieces, of Dante and Virgil, and the spirits in hell. His reasons for thinking of giving up the Virgin subjects for the present are the fear of being too late to get them finished, and the want of a satisfactory design for the Annunciation, and of any clesign at all for the Death. . . . 16 242 THE P.R.J3. JOURNAL. Monday 24th. . . . Hunt has been told by Millais that Mr. Wyatt, of Oxford, wants to have some proof-impressions of the etching, for sale ; and Hunt thinks of having some fifty or so printed on fine large paper, to be sold at 35. or 45. each. A third impression has been made of the etching, which Gabriel has seen, and considers a most striking im- provement Hunt is about to leave his lodgings at Brompton, which he finds inconveniently small for painting, and will look out for others in the same neighbourhood or at Bayswater. Wednesday 26th. . . . Gabriel continued paint- ing on the head of the Virgin, having resolved to go on with that picture. Thursday 27th. To-night we had the proof of the last sheet, containing the end of Gabriel's tale and my review. The latter however is still, after all my reductions, too long, and exceeds the limits of the number by about a page and a half. Under these circumstances it is thought advisable to omit Thomas's opening address, especially considering certain strong objections urged against it by Hunt and Stephens. This, besides making room for the whole of the review in its present shape, will enable us to insert Tupper's little poem, A Sketch from 'Nature, and our sister's An End. . . . Gabriel . . . did four stanzas of Bride-Chamber talk. 1849 DECEMBER. 243 Friday 28th. Hunt called here. Having been dis- appointed of a model this morning, he has been catch- ing sparrows in a trap, and painting from them after- wards decorating their heads with green, and sending them on their way rejoicing. . . He understands from Millais that the printseller at Oxford is likely to want not more than some ten or twelve copies of his etching. . . . Aleck Tupper brought us the second proof of the last sheet. . . . Thus then, after many changes and counter-changes, will stand the contents of The Germ, No. I. Woolner's My Lady, Ford Brown's Love of Beauty, Tupper's Subject in Art, Patmore's Seasons, our sister's Dreamland, Gabriel's My Sister's Sleep and Hand and Soul, my review of The Bo t hie, and sonnet Her First Season, Tupper's Sketch from Nature, and our sister's An End. Gabriel wrote a short poem, Lines and Music. Saturday 2gth. . . . . Millais . . . says he has begun his picture from the childhood of Christ, and is going to have a bed in the carpenter's shop he paints from, so as to be able to set to work early in the morning. ... Millais's brother continues to paint still-life and objects in Nature with great success, and is determined to become a professional Artist. John is to bully him into doing nothing all next summer but paint out in the fields. Gabriel had Maitland to sit 16* 244 THE P.R.B. JOURNAL, for his picture, but found him useless, and he thinks of beginning to paint from me to-morrow. . . . Sunday 3Oth. Gabriel drew-in the head of the Angel (from me) in his picture. In the evening we went to Bateman's with Millais, who has finished the Ferdinand and Ariel, all except something more he means to do to the background. He is going to send to the British Institution a small painting he did at Oxford, of Mr. Drury and a grand-daughter of his, for which he asks me to write an illustrative sonnet.* Monday 3ist. To-day before noon fifty copies of The Germ were in the hands of the Publishers ; I took home with me twelve. ... I wrote to Thomas explaining the circumstances which compelled us to omit his article. . . . 1850. Tuesday, January 1st. The fifty India- paper copies of the etching printing off for the maga- zine having been bound in, I took some of them home : however they are not generally superior to those on common paper. This was the day appointed (in lieu of yesterday, which was found unsuitable) for our first anniversary meeting at Stephens's fixed on the last day of 1 848 for the last day of each succeed- ing year. Millais and Woolner were prevented from attending. We settled to what magazines and news- * I wrote the sonnet don't now recollect it. The picture was exhibited, not at the British Institution, but at the Royal Academy, 1850- JANUARY. 245 papers to send The Germ, and to what private gentlemen and authors viz. : Sir Robert Peel, Lord John Russell. . . . [here comes a tear in the MS.] Saturday 5th. Gabriel went to see Hunt, who re- moved this evening from Brompton to Prospect Place, Cheyne Walk, Chelsea. . . . Monday /th. . . . Deverell called on Gabriel, and told him that the porter at Somerset House, who supplies the School of Design Students with stationery &c., would be very likely to get off some of The Germ ; and it is arranged to let him have fifty, on the understanding that, if he succeeds with the whole number, he is to have ios., in which case we might probably try it on with another fifty. Hunt, in coming to Gabriel, sold twelve copies out of nine- teen ; and I left three with a bookseller on trial. I had a letter from Mr. Clapp,* the American we met at Patmore's, sending me for insertion a short poem of his own, My Gentle Friend, which he says has already appeared in an obscure provincial Tem- perance-paper. If we should not be inclined to put it in, this will be excuse sufficient. I paid for the insertion of a second advertisement in the Athenceum. Tuesday 8th. George Tupper suggested to me the great propriety of sending about The Germ to the ^ This gentleman was correspondent in London to some American journal or journals. 246 THE P.R.B. JOURNAL. principal Club-houses. I accordingly made out a list of twenty-one, which I gave to the Publisher. . . . Another letter from Mr. Clapp, who says he has " enlisted on our behalf some of the most enlightened minds he has met with in England," and that he in- tends to make The Germ subject of "inter-friendly correspondence " in Scotland and America. Gabriel borcrowed a lay-figure from Barbe's, and began on the drapery of the Virgin. . . . Thursday loth. Gabriel had a large meeting at his studio, including besides the P.R.B. Thomas, Brown, Tupper, Dickinson, &c. &c. Collinson brought the remainder of The Child Jesus* Two or three matters concerning The Germ were resolved on : such as to send out more copies to literary men &c., and to magazines, and to try to introduce it among Artists' Colourmen. Ford Brown also will write for No. 2 an article on the painting of a historical picture. . . . Friday 1 1 th. I copied out and left with Tupper, in conjunction with Collinson's poem, two little songs of our sister's, one of which is to be introduced into the 2nd No. Another thing to be put in is a sonnet that Calder Campbell has sent Gabriel. Friday nth. All the P.R.B. was at Ford Brown's, with several others, to induct him properly into his new rooms in Newman Street. . . . Millais * A poem by Collinson, published in The Germ, No. 2. 1850 JANUARY. 247 has been knocked up these two or three days with colds caught at his carpenter's shop. He has sent off his picture to the British Institution, with my sonnet as title. He has thrown up the commission for his Ferdinand and Ariel, as Mr. Wethered, among other things on which they did not come to terms perfectly satisfactory to Millais, expressed some doubts of the greenness of his fairies, and wished to have them more sylph-like. . . . Stephens says he has by this time disposed of thirty Germs. . . . Tuesday I5th. W. B. Scott (to whom Gabriel wrote some days ago, sending a copy of The Germ, and requesting contributions) answered, enclosing two poems, viz. : a sonnet, Early Aspirations, and a blank- verse piece, Morning Sleep. The latter, which is gloriously fine, must absolutely come into No. 2. ... Wednesday i6th. . . . Gabriel ... in the even- ing began a rough sketch of a design for my Plain Story, which (it is likely) may appear in our 4th No., and which he thinks of illustrating. Collinson was at his studio all day, working on the etching* .... I had a letter from Stephens, giving me a list of the subscribers he has obtained, and suggesting that we need not print so many as 700 copies of No. 2 : 300 would, he thinks, suffice. In answering him * The etching which Collinson executed for his poem The Chila fesus. 248 THE P.R.B. JOURNAL. I concurred in the reasonableness of the suggestion, but consider that 400 will not be too much. . . . Thursday i/th. George Tupper . . . advises that 500 copies should be published of the 2nd No., to which I agreed. . . . Friday i8th. This was to have been a P.R.B. meet- ing at Collinson's, but the day turned out so intensely sloshy that only Hunt and I kept the appoint- ment. . . . We had some argument concerning the limitability of the P.R.B. : Hunt maintaining that it ought inviolably to consist of the present Members, for which Collinson and I do not see any very cogent necessity. . . . Monday 2ist. By enquiry at the Publisher's I learn that he has sold 120 or 130 copies, which is at least as good as I looked for. He sent me a letter he has received from a Mr. Bellamy, Secretary to the National Club (to which I sent a copy), advising him to send one to the Proprietor of The John Bull. . . . Yesterday's Dispatch contains a few words in praise of No. I. . . . Tuesday 22nd. Ford Brown showed Gabriel his article On the Mechanism of a Historical Picture. He will finish it and copy it out, and is to let Gabriel have it back to-morrow. After dinner I went for the first time to see Hunt at his new lodgings, 5 Prospect Place, Cheyne Walk, Chelsea, where he 1850-; JANUARY. 249 seems very comfortably settled. He has made a good deal of substantial progress with his picture ; of which, since I saw it last, he has done some more figures in the background, the boy listening en the floor, the straw &c. on the roof, with some sparrows in it, and something of the view outside the hut. The figure he is now painting at is that of the foremost man pushing at the door. Whilst I was there he went on working upon a stump of a beech- tree which forms one of the supports of the hut, and on which he means to paint a net hanging. . . . Stephens came with John Tupper, who read, and left with me, a poem of his written on Penge Wood. This, should there be room for it, will come into No. 2*. ... At half-past ten o'clock Hunt was re- quested to allow his gas to be turned off, as the family were about to go to bed! ! which did not exactly meet his views or intentions. . . . Wednesday 23rd.. . . A letter to " The Editor of The Germ " reached me through the Publisher. It is from a Mr. G. Bellamy (a relative, I presume,t of the other Mr. Bellamy) addressed from the British Museum, expressing the highest admiration of the poetry of the magazine, and begging the favour of an introduction to the author, as he conceives it to * It did not come in. t He was in fact the son of this gentleman. 250 THE P.R.B. JOURNAL. be all by the same person. I answered to thank him, and to say that I would call with Woolner as soon as I could find time. . . . Friday 25th.. . . Gabriel finished up his Blessed Damozel, to which he added two stanzas. A letter came from " Shirt-Collar Hall/ 5 * acknowledging the receipt of a copy of The Germ which was sent him on Saturday ; complimenting those engaged in it, who will, he says, be " the future great artists of the age and country " ; and promising that it shall be reviewed in the Art Journal for March, as it came too late for next month's No. Saturday 26th. . . . A note also came from Heraudt acknowledging a Germ which Campbell had left with him, and asking me to tea on Tuesday. Gabriel sent Tupper an additional stanza for The Blessed Damozel. . . . Sunday 27th. Gabriel went on with the drapery of his picture. Stephens called on him in the evening, when it was determined that the authors' names shall be published in our future Nos. For our Sister Gabriel invented the name "Ellen Alleyn." ... I * 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. t John Abraham Heraud, a Poet and writer then of some note, author of The Descent into Hell. l8 S~ JANUARY. $51 had a letter from Clough, conveying his thanks to me for the copy of The Germ and the criticism.* Monday 28th. Collinson saw Gabriel, and showed him the; new impression (the fourth) of his etching, which is a great advance on all the preceding ones. Gabriel wrote one more stanza of his Blessed Damozel. . . . Tuesday 2gth. At Heraud's, to whom I went, I met Westland Marston, who asked me to his house for to-morrow. Heraud complimented us a great deal on The Germ. . . . Hervey, the Editor of The Athenceum, came in rather late. Soon after we had been introduced, he explained to me that the reason why he had neglected many months ago to answer the letters that I sent him concerning certain poems I had offered for The Athenceum^ was that he wished to call and explain personally why he felt unable to insert them, viz. : on account of their being too Tennysonian ; and that his many engagements had prevented him from fulfilling his intention till too late. He asked me to call on him any Saturday or Sun- day. . . . George PattenJ was there, and Miss * i.e. My criticism of Arthur H. Clough 's poem The Bothie of Toper-na-fuosich . t I don't now remember about these poems. Some verses of mine had at an earlier date, 1848, been published in 7 he Athenaum. \ George Patten A.R.A. was a painter of some elevation of aim, but not a successful executant. 252 THE P.R.B. JOURNAL. Glyn the Actress, who promised to subscribe to The Germ. Wednesday 3Oth. I found the invitation to Mars- ton to be to a regular evening party. On leaving I pre- sented him with a copy of The Germ, and he asked me to call some day when I might find him alone. Hervey, in talking with me, maintained that Sordello is absolute nonsense, and said he has no patience with men who write in that style. He tells me also that before publishing it Browning asked his friends whether it was intelligible, and that they informed him it was ; in consequence of which, the result having proved the contrary, he became somewhat indignant against them. I left with the Publisher a list of twenty-five newspapers, magazines, &c, to which No. 2 is to be sent He tells me that he has sold some 70 copies of No. I not 120 or 130, as I heard some time back. . . . Thursday 3ist. Appeared No. 2 of The Germ containing Collinson's Child Jesus; A Pause of Thought, A Song y and the Testimony, by our sister ; Stephens's article The Purpose and Tendency of Early Italian Art ; Scott's Morning Sleep \ a sonnet by Calder Campbell; Patmore's Stars and Moon; Brown's Mechanism of a Historical Picture; my Fancies at Leisure (including the Sheer Waste, for which room was found at last), and my review of The 1850 FEBRUARY. 253 Strayed Reveller ; Deverell's sonnets, The Sight Beyond ; and Gabriel's Blessed Damozel. Stephens figures as " John Seward," as he does not wish his own name to appear. Tupper's articles in the ist No. also remain by his desire anonymous. . . . George Tupper gave me his bill for No. I, amounting, on a scale even below his original estimate, to 19. is. 6d., from which he will deduct five per cent, for discount, leaving iS. 2s. 6d. It now becomes a most momentous question whether we shall be in a position to bring out a 3rd No. The chance seems but very doubtful quite beyond a doubt, unless No. 2 sells much better than its predecessor, and of this we see but little likelihood. Even if it does appear, we shall probably have to postpone the publication of Bride-Chamber Talk, which Gabriel cannot write at much, having to paint his picture : in which case, my Plain Story of Life will probably be substituted. I spoke to the Publisher about pushing the sale of No. 2, and he promised to introduce it, on sale or return, among his customers in the trade. Friday, ist February. ... By Campbell's advice I left one of each No. at the house of Mr. Cox, Editor of The Critic, to whom Campbell had spoken of it. . . Gabriel finished the drapery of the Virgin in his picture ; whereupon he immediately deranged 254 THE P.R.B. JOURNAL. the position of the lay-figure, so as to preclude himself from the possibility of working at it any more. . . . Saturday 2nd. . . . In the evening we had a full P.R.B. meeting at Gabriel's. . . . Millais has had his picture back from the British Institution on account of its being in reality a portrait, we conclude and will send it to the Academy. . . . Millais has had an offer from Oxford to paint a copy of a portrait by Holbein ; which, as he does not feel disposed to accept, he offered to Stephens, who will do it after the open- ing of the Exhibition. We consulted about The Germ, and are unanimously of opinion that it will not reach another No. Calculating the number of copies sold among ourselves as ninety-five (not I think more than in fact) and by the publisher as seventy (from which profits we shall have to deduct some few personal expenses, which can scarcely amount to 155.) it seems that the expense to each of us beyond the receipts will be 1. 153. 5>^d. This is a kind of experiment that won't bear repeti- tion more than once or twice.* The next meet- ing is fixed for Monday at Millais's. On coming home I found a letter from Mr. Cox, of The Critic, proposing that, in case The Germ should not con- tinue (as he considers probable), one of the Art- * A tolerably "clear indication of the fact that money was not plentiful among the members of the P.R.B 4 1850 FEBRUARY. 255 writers in it, or I, should write on the same subject for his paper; in which case he says he would resign the entire management of the articles on Art, the exhibitions &c. He would not be able, however, to offer any remuneration in cash. His proposal is not, I think, disadvantageous for the P.R.B., as it would enable us to review the exhibitions in our own feel- ing, and might besides lead to some other literary employment. I answered that I would consult the others (Brown, Stephens, and Tupper), and, if they should not undertake it, that I would accept. . . . Monday 4th. Gabriel and I went together to the British Institution, of which this is the first day, as I wish to write something in the way of notice in the event of my being retained on The Critic. . . . Tuesday 5th. I began writing my notice of the British Institution. Gabriel assumed the responsibility of F.S.* and a few others. . . . Wednesday 6th. John Tupper resigns in my favour; and Stephens wrote me to the same effect, but offering his co-operation in any way he might be wanted. . . . * 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 Athenaum ;\ 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. 256 THE P.R.B. JOURNAL. Thursday /th. Woolner and I went to Patmore's, to whom I gave some Germs, and his own poems. He likes the Testimony, which is he says in the style which should be adopted in hymns &c., to make them good. Says that there are very fine things in Gabriel's Blessed Damozel, and speaks highly of Stephens's article. . . . He says that William Allingham has promised some contributions ; but these will probably not be available. . . . Saturday gth. I saw the publisher about the sale of the 2nd Germ, and am informed that some forty copies or so have sold, and that the ist No. also con- tinues to go off every now and then. This is the last knockdown blow. We certainly cannot attempt a 3rd No. Woolner and I went to Stephens. He showed us the design he has made of The Marquis dining in Griseldis' Father's House, Griseldis attending, which he means to paint; also two other designs from Chaucer Griseldis fart- ing from her Child, and The Revellers meeting Death. Gabriel got some stuff for the chasuble in which he means to drape his angel. . . . Monday nth. . . . This was a P.R.B. night at Millais's, where all were present except Collinson. . . Millais has very high accounts, from Oxford and else- where, of the estimation irj which Collinson's poem is held. , 1850 FEBRUARY. 257 Tuesday I2th. Gabriel ... in the evening . . . was engaged with Hannay, Clapp, North, and others ; and I with the Museum Mr. Bellamy, who has got us reviewed in The John 'Bull the critic himself not having looked at the book, but trusting entirely to Bellamy's report. . . . Friday I5th. . . . I went in the evening, by in- vitation, to the house of Mr. Bellamy, where I read the John Bull notice of The Germ. Mr. Bellamy seemed really to regret the apparently inevitable death of The Germ ; and took a copy of each No. to send to Justice Talfourd, with whom he is intimate, and who might, he thinks, probably do something for it. ... Saturday i6th. My review of the British Institution Exhibition (first half) appears in The Critic of to-day ; also a notice of The Germ, quoting four of the poems. George Tupper called on me in the morning, and said that he and his brother,* looking with regret at the Germ failure, propose to carry it on at their own risk for a No. or two longer, to give it a fair trial ; when it would have a better chance of success, through their being able to send about the sub- scribers' copies, to advertise by posters, &c. This I consider a very friendly action on their part. I wrote * The brother here in question is Alexander Tupper not John Lucas Tupper, who did not belong to the printing firm. 17 258 THE P.R.B. JOURNAL. at his request to convene all the hitherto proprietors, and saw the publisher about the sale of Nos. I and 2. It appears from what he says that he must have sold not much less than 100 of the ist, but the 2nd he states goes off less well. All the P.R.B.'s came to Gabriel's study at night to talk the matter over. . . . It seems more than doubtful whether the 3rd No. can come out at the end of this month. Another point raised was about the publisher. There was some talk of Tupper's publishing himself, but this does not seem very likely to be carried out. . . . Sunday i /th. . . . We thus find ourselves docked of the two poems on which we had to rely for Nos. 3 and 4. However, as there was no help for it, we set-to thinking how to manage with this deficiency. The first thing thought of was Gabriel's Dante in Exile; but this he is unwilling to have printed until he shall have been able to give it full consideration as a whole besides its connexion with his translation of the Vita Nuova, separated from which, he thinks some allusions in the poem scarcely intelligible. His Jane's Portrait* was then discussed. This how- ever is too much like Woolner's My Lady in Death as regards subject; nor does Gabriel think it good * 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. i%$o FEBRUARY. 259 enough as a specimen of his powers. The last suggestion was that Woolner should loolo-up that part of his old poem of Hubert* which describes the lovers' meeting, and see whether it can be got into shape as complete in itself. . . . Monday 1 8th. In default of any adequate poem, I looked up my sister's old thing, named An Argu- ment^ which is at least long enough and in a narra- tive form. Tupper, to whom I read it, is very much delighted with it ; but the fact f is, it is not quite up to the mark. Tuesday igth. . . . Gabriel, coming home from Brown's, told me he had there met Robert Dickin- son, who has undertaken the publication of The Germ. This is the best thing that could have happened for it perhaps. Wednesday 2Oth. Patmore sent me his paper on Macbeth ; which is devoted to showing that the idea of obtaining the crown was not suggested to Macbeth by the Witches, but had been previously contem- plated by him. It is very acute and well written, and will fill some twenty pages. Our difficulties as to illustrations continue. The only plans we have thought of are either to make an etching for our sister's poem in two compartments one of the girl ~* I have no recollection of the poem Hubert. t It appeared in The Germ under the title Repining. 17* 2 6o THE P.R.B. JOURNAL. spinning, and the other of the battlefield, or (as Tupper thinks preferable) of the avalanche ; or else to take some subject from Gabriel's Hand and Soul in the first No. Tupper decided to call on Gabriel at his study, to talk this over; but it so happened that Gabriel stopped at home, touching-up his Dante in Exile. Thursday 2ist. . . . I called on Millais, and asked him whether he was able to do the etching for next month in which case the No. would at all events have, of course, to come out later than usual in the month : but he says he is now so fully engaged with his picture, having just set a white drapery, that he cannot under- take it : and this is perhaps best. We shall now miss a month altogether, and come out in April properly prepared. Millais has done (or begun) the heads of the Virgin and of Christ. Gabriel received from Orchard the first part of a Dialogue on Art, being one of a series he will write, if found suitable. Gabriel read it to Stephens and John Tupper, by whom, as well as himself, it was highly admired. ... W. B. Scott's book about his brother David arrived; this we mean to review as soon as may be for The Germ. . . . Friday 22nd. We settled that it is impossible to bring out a No. for March. . . . Woolner, Stephens, and Bernhard Smith, were at Gabriel's study in the I%$Q FEBRUARY. 261 evening; and Ford Brown also came in later. He read us the second of his papers on The Mechanism of a Historical Picture* and has thoughts of writing something on the choice of subject. He warned me against being too downright and sarcastic in the art- notices I write for The Critic. Gabriel having asked him to do us an etching for the next or some early No., he proposed one of his designs from King Lear^ which he would execute double the size of the other etchings, requiring a fold down the middle. The sub- ject we last stopped at was The Leave-taking of Cordelia and her Sisters. Gabriel proposes to write an illustrative poem for it. This etching of Brown's would do capitally for show in Dickinson's window. Gabriel has painted the chasuble of the Angel, and the Virgin's arms : he and Brown discussed the back- ground, the bed, and other of the accessories. . . . Saturday 23rd. Gabriel spent the evening at Dickinson's, where Brown, Woolner, Thomas, and Hunt, were also present. Hunt brought a Hastings paper, in which there is a very cleverly- written review * 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. f These designs, a series, had been done some years before very forcible compositions. They were purchased towards 1890 by Sir Henry Irving. 262 THE P.R.B. JOURNAL of The Germ, not altogether laudatory. On leaving Dickinson's, Gabriel went home with Hunt to see the picture. There is some thought of changing our magazine's name to The Artist or something of the kind ; Gabriel is the chief advocate for this ; and, if it is to be done, now is the time certainly, when we are about to begin with a new publisher, etc. . . . Monday 25th. I got home, from Tupper's, Orchard's Dialogue on Art, which Gabriel and I read over, making a few alterations in style &c. as authorized by a letter from himself that Gabriel has received. Gabriel continued touching up and adding to his "Dante in Exile. Tuesday 26th. This was the evening appointed for me to call on Marston. . . I met Hervey, and Beding- field, author of The Peer and the Blacksmith, &c. What Hervey admires most, and that very highly in- deed, in the 2nd No. of The Germ, is Gabriel's Blessed Damozel, which he has read to Marston, who agrees in admiring it. We talked of Bailey's new poem, The Angel World, just come out, of Browning, Mrs. Browning, &c. Marston says that Browning, before publishing Sordello, sent it him to read, saying that this time the public should not accuse him at any rate of being unintelligible (! !). Browning's system of composition is to write down on a slate, in prose, what he wants to say, and then to turn it into verse, 1850 MARCH. 263 striving after the greatest amount of condensation possible; thus, if an exclamation will suggest his meaning, he substitutes this for a whole sentence. Mrs. Browning, I find, had published a volume of original poems before her Prometheus An Essay on Mind &c. which came out in '26. Of this, Marston showed me a review with extracts, in an old magazine called The Sunbeam, to which he had contributed. . . Thursday 28th. Gabriel went to Brown's in the evening, to have a sketch of his head made on copper as an exercise for Brown in etching.* This was done with much freedom of hand. . . . Sunday, 3rd March. Gabriel had White, the model, to sit to him for the arms of his Angel Gabriel. He is now looking out for a woman with red hairt for the Virgin. I went to see Millais's picture, at which I found him working his brother standing to him for the chest of the man knocking out a nail. The figures of St. John and the Virgin, the head of Christ, the legs of the assistant and of St. Joseph, are done, as well as the ground and some other accessory portions ; Alexander Tupper is to be the assistant. Millais has sold his Ferdinand \ * No trace of this is extant ; I perhaps never saw it. I t 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 itjred. 264 THE P.R.B. JOURNAL. to Mr. Ellison, the collector, for 150 50 more than it had been at first commissioned for. I saw the kind and patronizing review which The Art Journal gives of The Germ; saying that he (The Art Journalist) must doff the critic, and not dwell on minor faults, lest the Germ should not fructify. . . . Wednesday 6th. I went to see Collinson and Hunt. Collinson, . . . after this year, . . . has made up his mind to cut the Wilkie style of art for the Early Chris- tian ; and what he has in his head for the subject of his next picture is his old design (in the days of the venerable Cyclographic)* The Novitiate, into which he would probably introduce another figure that of the Lady Abbess. . . . Hunt has just finished the wolf-skin on the foremost savage at the door. . . . The models who sit to him &c. take the boy on the ground for an unnecessarily ugly girl, and the hindermost savage (his friend Collins) for an old negress ( !). " Sloshy "t comes now to see him frequently, and is beginning to look on himself as quite a P.R.B. talking of "we," and saying that Collinson seems quite one of " us/' It seems, how- * A sketching club, to which Hunt, Millais, Dante Rossetti, and others (besides Collinson himself), had belonged. t 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. 1850 MARCH. 265 ever, that he is really labouring to free himself somewhat from the slough of slosh Hunt found him in at first, and has in consequence quite offended some amateur Lord's son (or some person of the kind) to whom he showed one of his recent attempts. ... I finished reading for f the first time Bailey's Angel World, which must be reviewed for The Germ as soon as possible. It is nothing very wonderful very far less great and powerful than Festus. Thursday 7th. ... I got a letter from R. H. Home, to whom we had sent the two Nos. of The Germ. He expresses himself pleased with it, and hopes it may succeed, but does not at all expect it will do so as regards sale. Saturday gth. Gabriel went to see Woolner, who has been sticking hard to his statue of late. Here Gabriel met Cross, who knows some one who will do for the head of his angel. Sunday loth. Cross's man called on Gabriel, who found him to have a most splendid head. Not being very well, he did not paint much to-day. He has begun altering the position of the embroidery-stand, and doing the bed, and' has nearly finished the blue curtain behind the Virgin's head. . . . Tuesday I2th. A copy of Howitt's paper, The Standard of Freedom, was left us by Bateman, in 266 THE P.R.B. JOURNAL. which there is a very favourable review of The Germ. Wednesday 1 3th. The Tuppers came to Gabriel's study to have a talk about our next No. In the first place it was decided, after a good deal of discussion, to change the name of the magazine, and Aleck Tupper suggested Art and Poetry ', being Thoughts towards Nature, as a title. This we all think better than The Artist, and it was accordingly adopted Brown expressed some apprehension that he might fail in getting his etching ready ; and proposed that Gabriel, Woolner, and Hancock, should each set about one, and that whichever is finished in time should come into this No. Gabriel will take as his subject the painting by Chiaro of his own soul, from the Hand and Soul which appears in No. I. : of this he had thought before as a frontispiece to the volume if one ever were to be completed. Some poems were read over, among them John T upper's " Sixteen Specials " ; * to which I still object, as being too jocular and technical in style. Hunt is getting quite confident about finishing his picture, and even in very comfortable time. . . . Thursday I4th. Gabriel having to think about his * These are the opening words of the grotesque poem (published in The Germ) named An Incident in the Siege of Troy. 267 etching, the task of writing a poem illustrative of Brown's design has been transferred to me. , . . Wednesday 2Oth. Orchard sent Gabriel a second portion of his first Dialogue on Art, treating herein chiefly of early Christian (or, as he terms it, Pre- Raphael) Art, and seeming to out-P.R. the P.R.B. The word is impolitic, and must be altered. Tupper gave me the first proofs of No. 3. . . He has written out also a new prospectus, which he gave me to consider. Thursday 2 1st. I went to Patmore's with the proof of his Macbeth. He has got one out of some half- dozen copies of Tennyson's Elegies that have been printed strictly for private perusal; the publication of the work being postponed for some while, till about Christmas. Patmore says Tennyson is too lazy to go to Woolner's for his portrait, but will be at home for him any evening he may call. He learned Italian so as to be able to read Dante, Patmore says, in one fortnight's study. Patmore himself is desirous of making the experiment; and would, if he thought he could succeed equally well. He has been occupied the last month with his poem on Marriage,* of which, however, he has not meanwhile written a line ; but, having meditated the matter, is now about to do so. He * This resulted in Tk* Angel in Tht ffoust. 268 THE {P.R.B. JOURNAL. expresses himself quite confident of being able to keep it up at the same pitch as the few astonishing lines he has yet written, and which he read us some time ago. He is now anxious to have published as soon as possible his papers advocating certain principles in architecture, as the subject has of late been treated by others, and he is fearful of finding himself in a certain manner forestalled. He was a good deal struck with the quotations in my notice of The Strayed Reveller ;* and has also a great desire to hear Gabriel's Bride-Chamber Talk, of which he has heard Woolner and Millais speak. Brown finished to-day his design for the King Lear etching, and Gabriel his of Chiaro's painting. He is now engaged, as regards writing, on a tale entitled An Autopsy chology^ originally suggested to himself by an image he introduced into Bride-Chamber Talk. . . Saturday 23rd. ... In the morning Gabriel had been at work repainting the Virgin's head in his pic- ture. He has begun his etching as also has Brown. To-day's Athenczum contains an announcement of "the new poem by Mr. Browning" Christmas Eve and Easter Day to appear on the ist April, price six shillings. There is also a review here, among Poetry of the Million, of a volume by a Rev. Mr. Harston, * Matthew Arnold's poem, t Now called St. A%nes of Intercession. 1850 MARCH. 269 containing decidedly good things, and which deserves to be reviewed in Art and "Poetry* Monday 25th. I called on Collinson on my way to see Hunt, and the latter himself came in while I was there. He has been on a foraging expedition to Battersea Fields after Gipsies, on the recommendation of one who sat to him for his Druid's head, and as he wants to get some woman with good hands of a proper savage brownness. He finds himself quite disabused of old ideas concerning " sloshiness " and commonplace of gipsies, having fallen in with some of the most extraordinary-looking people conceivable. He found a very beautiful woman for what he wants, fit for Cleopatra ; she consented to sit for 5 an hour, but finally came down to a shilling, and fixed a day to come. His Cleopatra asked him for a pot of beer, over which she and a most hideous old hag, her mother, made their bargain. . . . Tuesday 26th. Gabriel and Brown continued at work on their etchings. A letter came telling Gabriel of the death of Orchard on Saturday : it might be well to see about getting together any MSS. he may have left, and publishing them. His death seems to have resulted from the general state of low health in which he always was, as no particular cause is mentioned. * I have not now any recollection of" Mr. 3 Ha ston's* poems, t have h at all survivecTthe interval since 1850'?]! 270 THE P.R.B. JOURNAL. If I could get at sufficient materials, I should like to write a notice of him for The Critic? 1 Wednesday 2/th. . . . The two etchings were to have been sent in to-day, but have been delayed, as Brown and Gabriel think it better to have proofs taken by some printer without sending the plates all the way to Clement's Lane for the purpose. The biting-in was done by Shenton, by Seddon's advice. Thursday 28th. Brown had his proof taken ; which he sent in the evening, together with the plate, to Tupper's. Gabriel's also was taken, but disgusted him ; whereat he tore up the impression and scratched the plate over. . . . George Tupper, being inclined to retain Aylott and Jones as joint Publishers with the Dickinsons, went to see them about it, and settled matters accordingly. He is of opinion that, as Dickin- son is a Print Publisher, it is better to have in the con- cern some one whose business is strictly in books. . . . Brown, not thinking very highly of his etching, stipulated at first that his name should not be published; but was finally persuaded to allow it every one else thinking the work excellent. Friday 29th. Gabriel painted at the feet and arm * 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. i* 5 o APRIL. 271 of the angel from White. He had Miss Love* to sit for the Virgin's hair, and is also repainting the head entirely. He has finished the embroidery- stand; and of the background done a curious lamp Brown has got, and a vase. The angel's head is being painted from a model, Lambert, of whom he has had two or three sittings. We went to Stephens's in the evening, when, finding he had gone on to Tupper's, we followed him thither. . . . The family lived through a whole act of Paracelsus, Tennyson's Day- dream, The Raven, and several of Browning's lyrics, for which Gabriel was called on by John Tupper. . . . Monday, 1st April. Gabriel touched-up the head of his Virgin. I went to the British Artists' Exhi- bition (Suffolk Street), where there are some astound- ing Anthonys about the only things not bad in the place. Browning's new poem is out, and Stephens beat us in getting it first. I began reading. . . . Sunday 7th. For this morning I was engaged to sit to Hunt, ... the working of the head and hands of the principal figure. . . There remains now scarcely any uncovered canvas : he has however a tremendous deal still to do for so short a time, two or three heads requiring much yet His frame with four Bible- mottos has arrived. ... I did not get home till too . * A professional model. 272 THE P.R.B. JOURNAL. late to sit to Gabriel, who had wanted me for a final re-touching of the Angel's hand. He has got some spirits of wine and chloride of something, to make the flame for the Angel's feet. . . . Monday 8th. . . . Gabriel went to see Millais's picture, which is finished. He himself had to work hard at his background all day, besides doing some- thing to the Virgin's head ; and had Deverell to assist him in doing certain things. I finished reading Browning's new poem, and read it the second time aloud to Deverell. From 8th April, up to to-day Sunday July 2ist, I have neglected the P.R.B. Journal. My excuse is, plenty else to do the impelling cause, idleness. But I hope henceforth to persevere. Firstly, The Gurm* died with its fourth No. leaving us a legacy of Tupper's bill 33 odd, of which the greater part, I take it, remains still unpaid. Our last gasp was perhaps the best containing Orchard's really wonderful Dialogue, Gabriel's sonnets on pictures, etc. etc. ; with an etching not very satis- factory in comparison with the standard of our promise by Deverell. Placards were posted and paraded about daily before the Academy but to no * As I have said elsewhere, we had a fancy for mispronounced 'Germ "as "Gvurm," 273 effect. The Germ was doomed, and succumbed to its doom. Millais's sacred subject, his Ferdinand and Ariel, and his Portrait of Mr. Drury and his Grandchild Hunt's Converted British Family sheltering a Christian Missionary from the Persecution of the Druids and Collinson's Answering the Emigrant's Letter went to the Academy, where they are still exhibiting ; Gabriel having at the last moment elected to send to the National Institution formerly Free Exhibition. The " Carpenter's Shop " of Millais, which has now become famous as " No. 5 1 8," sold, the morning before sending in, for 350 Mr. Farrer the picture-dealer being the purchaser. Hunt's picture and this are hung half on the line, the portrait on the line, and the Ferdinand on the ground ; Collinson's, at a height where all its merits are lost. Millais's picture has been the signal for a perfect crusade against the P.R.B. The mystic letters, with their signification, have appeared in all kinds of papers ; first, I believe, in a letter, Town Talk and Table Talk, in the Illustrated News, written by Reach, who must have derived his knowledge, we conjecture, from Munro.* But the designation is now so notorious that all concealment is at an end. The * Angus B. Reach, a popular light writer of those days, and Alexander Munro the sculptor. 18 274 THE P.R.B. JOURNAL. Athenceum opened with a savage assault* on Gabriel, who answered in a letter which the editor did not think it expedient to publish; and a conversation which Millais had with Frank Stone, and in which the latter (speaking of the picture) intro- duced several of the observations of The Athenceum, coupled with some other circumstances, make it tolerably evident that he was the author of that and subsequent critiques. In noticing Hunt and Millais, nearly a whole page was devoted to a systematic dis- cussion of (assumed) P.R.B. principles which F. S. rather overthrew and demolished than otherwise. In all the papers The Times > The Examiner^ The Daily News, even to Dickens's Household Words, where a leader was devoted to the P.R.B., and devoted them to the infernal gods the attack on Millais has been most virulent and audacious ; in none more than in A Glance at the Exhibition, published by Cundall, and bearing manifold traces of a German sourcef. Indeed, the P.R.B. has unquestionably been one of the topics of the season. The " notoriety " of Millais's picture may be evidenced by the fact, received from undoubted authority, of the Queen's having sent to have it brought to her from the walls of the R.A., which her recent accouchement had prevented her * An assault, but hardly a savage one. f It was written, I think, by Dr. Waagen. 1850 JULY. 275 from visiting. Hunt's picture, Gabriel's, and Collin- son's, remain unsold. Not long after the opening of the Exhibitions the Brotherhood had the misfortune to lose one of its members Collinson, who announced his resolution thus, in a letter addressed to Gabriel : " Whit Monday. Dear Gabriel, I feel that, as a sincere Catholic, I can no longer allow myself to be called a P.R.B. in the brotherhood sense of the term, or to be connected in any way with the magazine. Perhaps this determination to withdraw myself from the Brotherhood is altogether a matter of feeling. I am uneasy about it I love and reverence God's faith, and I love His holy Saints; and I cannot bear any longer the self-accusation that, to gratify a little vanity, I am helping to dishonour them, and lower their merits, if not absolutely to bring their sanctity into ridicule. I cannot blame any one but myself. Whatever may be my thoughts with regard to their works, I am sure that all the P.R.B. J s have both written and painted conscientiously ; it was for me to have judged beforehand whether I could conscientiously, as a Catholic, assist in spreading the artistic opinions of those who are not. I reverence indeed almost idolize what I have seen of the Pre-Raphael painters; [and this] chiefly because [they fill]* my * The words in brackets indicate some flaw in the letter. 1 8* 276 THE P.R.B. JOURNAL. heart and mind with that divine faith which could alone animate them to give up their intellect and time and labour so as they did, and all for His glory who, they could never forget, was the Eternal, although he had once humbled Himself to the form of man, that man might be clothed with and know and love His divinity. I have been influenced by no one in this matter; and indeed it is not from any angry or jealous feeling that I wish to be no longer a P.R.B., and I trust you will. . . . [some- thing torn off], but believe me affectionately yours, James Collinson. P.S. Please do not attempt to change my mind." 24th October. Another long gap in this Journal, even after having made a beginning with the resump- tion of it. Let me record no more intentions or promises, but set to work at its continuation once more, being as brief as possible regarding the interval. Deverell has worthily filled up the place left vacant by Collinson.* His work at the National In- stitution this yearf was a strong ground of claim; * 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. t The work in question (the most important which Deverell painted) was the subject from Shakespeare's Twelfth Night, recently re-produced in Mr. Percy Bate's handsome volume 7he English Pr 59 INDEX. 3 J 3 Brown, Ford Madox Paul's Cray Church, by, no Potter, Lithograph of Bust, by, 84, 85 Pretty Baa-Lambs, by, 108 to 114-93 Rossetti, Dante G., Gravecross for, by, 53 Do. Monument to, by, 53 Seddon, Portrait of, by, 104-5 Seddon, Mrs., Por- trait of, by, 109 Shakespeare, by, 105-6 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 to 83, 8 5 to 94, 9 6 > Io8 > 109-12-4-46-67-70 William the Con- queror, by, 54, 55 Winandermere, Litho- graph by, 114 Do. Picture by, 95, 96, 97, 102-13, 114-5-7-67-9-88 Work, Picture by, in, 112-47-52-3-4-78-9, 180-95, 20 Brown, Miss, 66, 69, 71, 77, 87, 144 Brown, Oliver M., 159-64-7-8, 170-3-87-91 9 Browning, Mrs., 211-62-81-90 Essay on Mind, by, 263 Browning, Robert, 20, 37, 211, 219-26-7-33-7-52, 262-3-80, 304 Christmas Eve and Easter Day, by, 268-71-2-80 Ghent to Aix, by, 227 Paracelsus, by, 227, 271 Pippa Passes, by, 210 Saul, by, 227 Sordello, by, 227, 236-52-62 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 Sed- don, Mrs. Thomas) Burcham, R. P., 182-5 Burchett, Richard, 155 Burns, Robert, 64, 229-32-4 Cottar'sSaturdayNight, by, 233-4-5 Buss, Richard W., 79 Byne, Miss, 107 Byron, Lord, 64, 66, 280 CAMBRIDGE, 70 \J Camden Town Station, T 45 Campbell, Major Calder, 231, 250-3 314 INDEX. Campbell, Sonnet (Germ), by 246-52 Campbell, Mr., 84 Potter, Bust of, by, 84 Campbell's Scotch Stores, 176 Carlyle, Thomas, 37, 161-2-78, 296, 304 Latter-day Pamphlets, by, 308 Miscellanies, by, 199, 200-1 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., 185-94, 280 Dante translated by, 280-3 Chamberlayne, Miss, 70, 71, 80 Chapman and Hall, 219 Charlotte Street, 50, London, 102, 213-92 Chatham Place, 14, London, 25* 26, 3 1 , 32, I2 4, 3 8 Chaucer, 62, 63, 77, 305 Chelsea, 229 Chester, 96 Chevalier, G. S,, 224 Cheyne Walk, 16, Chelsea, 227-9 Chorley, H. F., 298 Christie, Mrs., 54 Church End, Finchley, 113-32 Church-Mason Society, 68, 84 Clapham Common, 109 Clapp, Henry, 245-6-57 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., 225-51 Bothie of Toper-na- fuosich, by, 239 Coats, Mrs., 112 Cole, Sir Henry, 153-4-5-7-8 Collins, Charles A., 5, 27, 172-6, 264-83-91-7 Convent Thoughts, by, 297, 301 to 304 Collins, Mrs., 298 Collins, William, 298 Collinson, James, 12, 206-9, 215-20-3-7-31-6, 246-7-8-51-6-64, 269-75, 307 Child Jesus, Etch- ing by, 247-51 Do., Poem by, 246-52-6 Emigrant's Letter, by, 223-31-73-5 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, 210-3-4-9-20-1 Coulton, 91, 100 Court Journal, 210-1 Cowes, 220 Cox, Edward J., 253-4-5-80 INDEX. 3*5 Crimea, The, 86, 162 Critic, The (Review), 253-5-7, 261-70-80-94 Cromwell, Oliver, 163 Cross, John, 145, 200-32-4-65 Death of Cceur de Lion, by, 145 Crystal Palace, 185 Cumberland, 95 Cumberland Market, Lon- don, 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, 220-7-9-39, 245-72-6-7-91-4-5 Claude du Val, by, 277 Egyptian Ibis, by, 2 7 7 Hamlet Banished, by, 277-91-5 Deverell, Walter H. James II. and Fishermen, by, 277 Laertes and Ophelia, by, 277 Olivia and Viola, Etching by, 272 Rosalind and Or- lando, 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, 157-78-9, 295, 213-46-61-81 Dickinson, Messrs., 80, 105, 108-14-57, 261-70-82-7 Dickinson, Robert, 144-62-3, 167-99-269 Dispatch, The(Newspaper), 249 Donovan, 226 Dover, in Drury, 225 Dundas, Admiral, 140-1 Durer, Albert, 148, 301 Dyce, William, 137-48-97 Christabel, by, 183 EARL, 288 Nature and Art, Design by, 288-93 Eastlake, SirC. L., 285-97 Edward the Black Prince, 63 Edward III., 63 Egg, Augustus L., 213-4 Egypt, 43> i5 8 INDEX. 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, 123-70 Ewell, 216 Examiner, The, 186, 274-81 FARRER, 273-94 Faucit, Helen (see Mar- tin, Lady) Fenton, Roger, 86, 106 Fielding, Copley, 85 Finchley, 37, 45, 171-97 Finchley Road, London, 194 Fletcher, 294 Foggo, 74 Foley, J. H., 80 Foot's Cray, 109 Fores, 294 Fort ess Terrace, London, 19 6- 7 Fowke, Captain, 162 France, 222-85 Eraser's Magazine, 218 Free Exhibition, The, 74, 75, 77, 79, 8 7, 9i, 9 2 , 93) 101, 281 Frost, W. E., 84 PARRICK, DAVID, 197 \J Gavarni (see Chevalier) Genoa, 39 Germ, The, 18, 106-13, 214, 215-20 to 223-5-6-8-31-2-5, 236-7-40 to 254-6 to 259-61, 262-4-5-6-72-3-84 Ghent, 16, 201-14 Gibbons, 213-4-78 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, 102-45-9-84, 270 Gray's Inn Road, 104 Green, 29 Greenside, 96 Greenwich, 81, 101-44-84 Grundy, no Guardian, The, 288, 303 HALL, S. CARTER, 105, 250 Hallam, Arthur, 227 Halliday, Michael F., 182 Hampstead, 35, 38, 43, 65, 111-2-23-30-3-43-53-4-7-63, 164-75-80 Hancock, John, 220-39-66 Hannay, James, 5, 19, 27, 28, 43, 257-81-99 Hannay, J. Lennox, 296 Harding, J. D., 287 Harris, John, 230-91 Harston, Rev. Mr., 268 INDEX. Hastings, 47, 51, 261 Hatfield, 117-21 Haydon, Benjamin R., 116, Haynes, 220 Hendon, 113-24-8-45-7-58-60, 180-97-8 Heraud, J. A., 250 The Descent into Hell, by, 250-1 Herbert, J. R., 183 Lear and Cordelia, by, 183 Hervey, T. K., 251-2-62 Hewlett, 90 Highgate, 36, 77, 112-50-80 Highgate Archway, 149-50 Highgate Cemetery, 65, 69, 82,84 Hill, Mrs, 127-60-73 Holbein, 254 Holborn, 71 Holloway, 144 Hoist, Theodore von, 176 Hook, J. C., 285-7 Home, R. H., 265 Houses of Parliament, 51, 169-82 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, 106-9-22, 126-8-33-4-44-5-51-8-70-1-2, 187 Hueffer, Ford M., 60, 106 Hueffer, Life of Madox Brown, by, 60, 6 1 Hughes, Arthur, 182-95 April Love, by, 195 Hunt, senior, 182 Hunt, William Henry, 182 Hunt, William Holman, 12, 17 to 21, 23, 24, 26, 27,33, 43> 95 102-8-58-9-72, 201, 205-9-10-3-4-6 8-9~22to 225, 227-9^232-5-42-3-5-8-9-61, 262-4-5-9-74-9-82-3-7-8-9- 291-2-5-9, 300-2-6-8 Hunt, Christian Missionary and Druids, by, 210, 212-4-9-49-64-6-9-71, 2 73-5- 8 > 33 Claudio and Isabella, by, 278-89,306 Hireling Shepherd, by, 306 Keats's Isabella, Design by, 212-79 Lady of Shalott, by, 279 Light of the World, by, 32, 33, 3o6-8 Morning and Evening, by, 213-9 MyBeautiful Lady,Etch- ing by, 232-5-42-3-4 Our English Coasts, by, 306 Rienzi Swearing Re- venge, by, 211-3-6-78, 297 Ruth and Boaz, by, 279 Valentine and Sylvia, by, 278-82-9-92-6-7, 301, 302-3 Hurlstone, F. Y., 73 Hyde Park, 195 INDEX. ILLUSTRATED LONDON L NEWS, 273 Inchbold, J. W., 183 India, 166-7-75-92-5 Inskip, 84 Ireland, 72 Irving, Sir Henry, 261 Irving, Washington, 163 Life of Washington, by, 163 Isle of Wight, 1 08 Islington, 150 Italy, 157 TAMES I., 8 tl Jehoshaphat, Valley of, '59 Jersey, 277 Jerusalem, 158-9, 279 John Bull (Newspaper), 248, 257 Jones, Anna, 184 Jones, George, 298 Jones, Mrs. George, 298 Jones, William, 184 Jullien, 199 17 EATS, JOHN, 95, 234-85 IV. Keats, Thomas, 284-5 Kentish Town, 158 Keswick, 96 King's Road, London, 66 Knight, Charles, 69 Knowle Park, 24,278 Kotzebue, 71 The Stranger, by, 7i 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 Proces- sion, by, 181-3 Leslie, Charles R., 85, 297 Lewis, 77 Life of Wiclif, by, 7 7 Limehouse, 172 Lippi, Lippo, 148 Vision of St. Bernard, by, 148 Liverpool, 96, no 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 to 70, 72, 74 to 81, 84, 86, 9> 94,95*99; I0 - 1 ^ 105-7-9-14-95 Cromwell and his Daughter, by, 55, 195 Nelson on the Victory, by, 55 Pilgrim Fathers, by, 77 Lucy, Mrs., 55 to 58, 67, 68, 78, 90 Lyons, Captain, 141 INDEX. 319 MACCRACKEN, Francis, -"-* 5, 3, 32, 33, 34, 43, 108-12-4, 308 MacDowall, Miss, 295 MacDowell, Patrick, 201 Maclan, Mrs., 53 Maclan, R. R., 53 Mackintosh, Sir James, 62 History of Eng- land, by, 62 Maclise, Daniel, 62 As You Like It, by, 183 Spirit of Chivalry, by, 62 Maddox Street, London, 80, 81, 113-66 Madox, 85, 91, 165-6-79 Maitland, 86, 89, 93, 99, 100, 103-7, 235-40-3-4 Manchester, 56, 102-13 Manchester Exhibition, 95, 188 Margate, 104 Marlboro' House, London, 162-3 Marshall, John, 5, 66, 73, 83, 84,86,91,99,104-7-9-12-79 Marston, J. Westland, 251-2, 262-3 Martin, J. R, 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), 171-2 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, 110-72-5-6-7-9, 181-2-5-7, 205 to 213-8-25 to 232-4-8, 242-3-4-6-7-54-6-60, 264-8-74, 267-83-8, 290 to 295-8, 302-3-6 Bridesmaid, by, 170, 295 Caen Nunnery, by, 209-10-2 Carpenter's Shop, by, 226-9-35-8-43-60-63, 272-3-88-93 Dove's Return to Ark, by, 295-7-9, 300-1-3 Drury and Grand- daughter, by, 244-7, 254-73 Ferdinand and Ariel, by, 209-30-2-5-44-7, 263-73-92 Huguenot (The), by, 169, 207, 306 320 INDEX. Millais, Sir John E. Lorenzo and Isabella, by, 95> 104-69, 211, 229-30-4 Mariana, by, 277-97-8, 301-2-4 Marriage before Flood, by, 291-2 Ophelia, by, 306 Proscribed Royalist, by, 307 Ransom (The), by, 307 Rescue (The), by, 175, 176-83 Waterfall, by, 123 Woodman's Daughter, by, 277-8-91-2-7 Woolner, Hunt, and Hancock, Heads by, 213 Millais, William H., 232-43, 277-88 Miller, John, 32, 33, 44, 46 Mogford, 149 Monti, Raffaele, 185 Veiled Vestal, by, 185 Morning Chronicle, 300 Moses, 299 Mulready, William, 201-97, 301 Munro, Alexander, 182-94-5, 273 MANGY, 15 ll Naples, 6 Napoleon I., 135 Napoleon III., 179 National Club, 248 National Gallery, 5, 14, 28, 77, 148-9 National Institution, 46, 273-6 National Portrait Gallery, Edinburgh, 160 Negro, Marchese G.C. di, 38, 39 New Road, London, 153 Newman Street, London, 21, 106-10-1, 229-30-46-79 Nicholas I., Emperor, 135-40, i 7 8 Nichols, 102 North British Review, 226 North End, Finchley, 157 North London School of Drawing &c., 32, 33, 105, 106-11-62 North (Senr.), 291-4 North, William, 214-40-57-91 Anti-Coningsby, by, 214 Northumberland, Duke of, 85 Novalis, 201 Nussey, Charles, 225 ALIVER, WILLIAM, 86 \J Olympic Theatre, 199 Omar Pasha, 135 Orchard, John, 214-6-67-9-70 Dialogue on Art, by, 260-2-7-72 Thomas a Becket, Picture by, 215 Orme, Mrs., 291 Oxford, 225-34-43-4-54-6-77, 278-88 Oxford Street, London, 79 PR.B., 12, 17, 19,20,205-6, 210-2-23-7-31-2-6-7-9, 248-54-5-6-8-64-7-73 to 276, 282-3-4 9-90-2-3-5-7-8-9,300, 302 to 305-8-9 INDEX 321 Palestine, 43 Palladium, The, 280-2-3 Palmerston, Lord, 200 Pantheon Bazaar, London, 176 Pap worth, 166 Paris, 12, 17, 51, 82, 86, 94, 115-7-52-7-62-9-86-96, 200, 214-9-24 Paris, Mr., 80 Patmore, Coventry, 161, 211, 221-2-6 to 230-2 to 236-56-67-8-78, 280-2-3-8-9-90-4-5, 299, 300-2-4 Angel in the House, by, 161, 267-91 Lilian, by, 229 Macbeth, Essay by, 259-67 River (The), by, 210-29 Seasons (The), by, 222-39-43 Sir Hubert, by, 212, 229 Stars and Moon, by, 252 Woodman's Daugh- ter, by, 212-29-81, 290 Patmore, Mrs., 291 Patten, George, 251 Patterdale, 96 Pea-hen Inn, St.Alban's, 118-9 Pen, The, 43 People's Journal, The, 94, 146 Percy Street 33, London, 193-4 Percy's Relics of Poetry, 8 Phillips, 113 Photographic Exhibition, 31 Physicians, Royal College of, 5,66 j Pickford (or Pickham), 55, 56 I Picot, 200 Piedmont, 39 Pierce, Harriet, 7 Place Jean van Eyck, Bruges, 18 Plymouth, 307 Poe, Edgar A., 229-36 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 Ter- rore, by, 8 Polidori, M. Margaret, 6, 21, 2 5 Polydore, Henry F., 161 Poole, R. F., 297 Pope, Alexander, 80, 280 Essay on Man, by, 80 Porbus, 15 Powell, Thomas, 236-7 Pratts, 98 Princess's Theatre, London, Prospect Place 5, Chelsea, 245-8 Pugin,A. W., 77 Mediaeval Furniture, by, 77 Punch, 304 QUEEN'S HEAD INN, Finchley, 197 21 322 INDEX. pAINFORD, 264-5 -ti Raphael, 300-1 Ravensbourne Wharf, Green- wich, 81,85, I2 6 Reach, Angus B., 273 Read, T. Buchanan, 35 Poems by, 35 Red Lion Square, 17, London, 29!-4 } 305 Regent's Park, London, 7, 67, 80, 83, 85, 90, 95 Rembrandt, 148 Reynolds, G. W. M., 145-6 Miscellany of, 146 Reynolds's Newspaper, 146 Richmond, 69 Rigaud, 278 Thames and Severn, by, 278-89 Rintoul, Robert S., 2^-6-7-8, 298 Ritchie, 156-7-9-60 Roberson, 109 Robinson, no Robson, 199 Rome, 62, 64, 65, 83, 185 Ross, Sir William, 301 Rossetti, Christina G., 6, 7, 42, 45, 135, 246 Dreamland, by, 2^0, 243 End (An), by, 242-3 Pause of Thought, by, 252 Repining, by, 259 Song (Germ), by, 25 2 Testimony (A), by, 252-6 Rossetti, Dante G., 3 to 47, 66, 67, 74, 89, 93, 95, 97, 100-1-2-4, Rossetti, Dante G. 116-24-44-7-536, 172-94,205 tO 2 1 1, 213 to 225-27 to 242-4-6-7-8-50-!, 253- 6 -7-9-7-2 to 275-7-9-82-3-7 to 295-9> 32-4 to 309 Annunciation, The, (or Ecce Ancilla Domini), by, 28, 29, 30, 232-5-8 to 242,4-6-50-3-6-61, 265-8-71-2-5-89, 290, 308-9 Beatrice at Marri- age-feast, by, 306 Between Ghent and Bruges, by, 1 2 ,, Blessed Damozel by, 250-1-3-6-62 Borgia, by, 290 , , Bower Meadow by, 2 2 Bride's Prelude (or Bride - chamber Talk), by, 12, 17, 229-35-7-42- 53-68 Burden of Nineveh, by, 43> 44, 287 Carillon (The), by, 18 Dante and Beatrice in Earth and Eden, by, 22, 23, 24, 32, 33, 282-7, 305 Dante at Verona, by, 210-58-60-2-82 Dante drawing an Angel, by, 209 INDEX. 323 Rossetti, Dante G. Rossetti, Dante G. jj Dante's Vita Nuova, Refusal of Aid be- translated by, 219, tween Nations, 25^-89, 309 Sonnet by, 216-28 jj Denys Shand,by, 290 Rossovestita, by, 306 jj Early Italian Poets, St. Agnes of Inter- by, 282-7-92-5, cession (or Auto- 309 psychology), by, jj Family Letters of, 36 268 jj Found, picture by, Sister Helen, by, 144-8 44 jj Giotto painting Sceur (La) Morte, by, Dante, by, 32, 33, 216 238, 306 Sonnets on Pictures, 3) Girlhood of Mary by, 272 Virgin, by, 97, 99, Sonnets on Trip to 153, 210-5-6-81 France and Bel- JJ Hand and Soul, by, gium, by, 223-4 238-4010 243-60-6 ,, Ulalume, Parody by, >J Ingres's Ruggiero 289 and Angelica, Son- Versailles Sonnets net by, 229 by, 224 JJ Kate the Queen, by, ,, Virgin Mary planting 21,22,210-1-24-83 Lily and Rose, by, JJ Kraken (The), 217 Parody by, 40, 41 Wellington's Funeral, JJ Letters to Ailing- by, 26, 27 ham by, 240 William and Marie, JJ Lines and Music, by, by, 10, ii 243 Rossetti, E. Lucy, 58, 60, 61, JJ Mary in House of 64, 66, 77, 78,96, 102-4-10, John, by, 217 n3-27-33-4-9-45-5o-6-7o-5 3J My Sister's Sleep, by, 184-6-7 216-37-43 Rossetti, Elizabeth .,31, 36, JJ Paolo and Fran- 43j 45> 46, 208 cesca, by, 231-2-41 Lady of Shalott, by, JJ Passover in Holy 43 Family, by, 2 1 7-3 1 Portrait of Herself JJ Poems(i87o),by,258 by, 3 6 > 43 JJ Portrait (The), Poem We are Seven, De by, 258 sign by, 31, 32 3 2 4 INDEX. Rossetti, Frances M. L., 21, 144-75 Rossetti, Gabriele, 3, 6, 38, 41, 280-92 Arpa Evangelica, by, 38, 39, 42 Rossetti, Maria Franc esca, 6, 7, 42, 182-4 Rossetti, William M., 7, 28, 29, 35. 37, 3^, 42, 102-16-24-47-56, 161-76-7-8^0185, 205 to 309 Arnold's Strayed Reveller &c., Re- view by, 253-68 dough's Bothie, ditto by, 225-40, 242-3-5 1 Critic (The), Reviews in, by, 255-7-82, 283-4-6 Dante Rossetti, Me- moir of, by, 10, 40, 308 Democracy Down- trodden, Sonnet by, 219 Fancies at Leisure, by, 252 ,, Her First Season, Sonnet by, 243 Mrs. Holmes Grey, by, 220-3-30-1-47, 253 Sonnet for TheGerm, by, 215-6 Spectator (The) Re- views in, by, 286, 299, 302 Rowney, 79 Royal Academy, 36, 66, 85, 102 - 7 - 8 - 12-46-68-72-4-5, 178-9-81-2-3, 205-26-9-44, 254-72-3-4-84-97-8, 301-5-6 Rubens, 13, 18 Ruskin, John, 34, 47, 161, 288-99 to 32-4 Ruskin, John J., 300 Russell, Earl (Lord John), 141, 245 Russia, 141 Ruth (Servant), 150 Ryan, Miss, in O ADLER'S WELLS THE- ATRE, London, 197 St. Alban's, 117-56 St. Alban's Abbey, 118-9 St. John, Hospital of, Bruges, i5 St. Pancras Church, London, 157 Saiter, 80 Sang de Dieu, Chapelle du, Bruges, 16 Sardinia, Kingdom of, 39 Scharf (Senior), 86 Scharf, Sir George, 86 School of Design, London, 95, 104, 245 Science and Art, Department of, 95, 106-53-5 Scotland, 246 Scott, David, 234 Scott, W. Bell, 158-61, 222, 234-47 Early Aspirations, Sonnet by, 247 Life of David Scott, by, 260-1 INDEX. 325 Scott, W. Bell ,, Morning Sleep, by, 247-5 2 Poems (vol.), by, 162 Sevastopol, 135-40-2-96 Seddon, Charles, 114-52-4 Seddon, John P., 5, 27, 28, 32, 104-14-44 Seddon, Mrs. (Senior), 105 Seddon, Mrs. Thomas, 186-9 Seddon (Senr.), 104-61-6-99 Seddon, Thomas, 5, 27, 33, 104-7-9-58-9-65-6, 168-70-2-8-80-1, 182-6-9-94-5, 201, 240-70-92 Jerusalem, Picture by, 5 The Pyramids, do. 180 Sevenoaks, 32, 278-82 Seward, John (see Stephens) Shakespeare, 7, 64, 145, 236, 295 ,, Antony and Cleo- patra, by, 116 As You Like it, by, 45 Othello, by, 37 Richard III., by, 7 Twelfth Night, by, 276 Shelley, Percy B., 69 Shenton, 145, 270 Shorn Ridgway, 104 Siddal, Elizabeth E. (See Rossetti) Silistria, 135 Slade, Lady, 184 Slade, Misses, 180-1 Smallwood's Magazine, n Smart, 147-60 Smith and Elder, 217-9 Smith, Barbara L. (See Bodichon) Smith, Bell, 101 Smith, Bernhard, 5, 40, 211, 260-81-91, 307 Smith, Collingwood, 86 Smith (Model), 79, 88, 90 Solly, 59 Somers Town, London, 66 Somerset House, 245 Southend, 65 Southey, Robert, 77 Book of the Church, by, 77 Spectator, The (Newspaper), 217-81-4 to 87, 94-7, 302-7 Spenser, Edmund, 64 Standard of Freedom (Maga- zine), 265 Stephens, Frederic G., 5, 20, 21, 24, 26, 27, 206-9-23-4-7-32-5 to 238-42-4-7-9- 250-310256-60-71, 277-8-9-82-3-7-9, 293-4, 3 o6 ' 8 Chaucer, Designs by, 256-79 Early Italian Art, Essay by, 222-52-6 3) Mrs. Stephens, Portrait of, by, 306 Stephens (Senr.), do., 27, 307 Stockwell, 1 08- 10- 1 Stone, Frank, 255-74-88 Stothard, Thomas, 170 Strand, London, 65, 87 Stratford-on-Avon, 68 326 INDEX. Suffolk Street, London, 82 Sunbeam (Magazine), 263 Sveaborg, 190 Syria, 306 T 34,35 J-.j Tait's Magazine, 290 Talfourd, Justice, 257 Taylor, Sir Henry, 228 Philip van Artevelde, by, 228 Tennyson, Lord, 36, 225-7-9, 231 to 235-7-8, 239-67-78-80-2, 288-9-94, 304 Daydream (The), by, 271 Godiva, by, 224 Idylls of the King, by, 238-9 j, In Memoriam, by, 227-67 Kraken (The), by, 4i Princess (The), by, 236-7 Tenterden, Lord, 197 Thackeray, W. M., 145 The Newcomes, by, 145-90 Theobald, 102 Thomas, Serjeant Ralph, 176 Thomas, W. Cave, 67 to 71, 75> 79> 8o > 83 to 87, 89, 93, 94, 95> 101-23-39-40-80-2, 213-25-36-9 to 242-4-6-61-80 II Penseroso, De- signs by, 69 Thomas, W. Cave Lectures by, 97 , , Russian Merchant, by, 123 Thorburn, 301 Times, The, 120-60-3-72, 274, 300-2-4-7 Titchfield Street (Great), London, 140 Tom's Coffee House, London, 124 Torrington Square, London, 140 Tottenham, 169 Tottenham Court Road, 291 Trafalgar Square, London, 87 Trinity House, 278-89 Tudor Lodge, London, 65 Tupper, Alexander, 19, 20, 21, 243-5 7- 6 3- 6 Tupper, George I., 19, 20, 21, 235-7-9-40-5-6-8-50-3-7 to 260-2-6-7-70-2, 303 Tupper, John L., 5, 19 to 22, 235-9-46-9-55-7, 260-6-71, 304-5 Incident in Siege of Troy, by, 235-66 Merchant's Second Tale, Bas-relief by, 305 Poems (volume), by, Sketch from Nature, by, 242-3-53 Subject (The) in Art, by, 241-3-53 Turkey, 136 Turner, J. M. W., 156-70-88 The Shipwreck, by, 156 INDEX. 327 TTNIVERSITY COLLEGE, U London, 83, 84, 85 T7ALENTINO, 224 V Van Eyck, John, 13, 15, 1 6 Arnolfmi and his Wife, by, 14 Ventnor, 220 Verrocchio, Andrea, 185 Colleone, by, 185 Victoria, Queen, 274 WAAGEN, DR., 274 Glance at the Exhibition, by, 2 74 Walker Art-Gallery, Liverpool, 211 Walters, 210 Warton, Mrs., 56, 57 Washington, George, 163 Wast-Water, 96 Water Colour Societ y,i82 Weire, 197 Wells, Charles, 217-8-9-22-81, 284-5 Boar-Hunting in Brit- tany, by, 218 De Clisson, by, 218 ,, Joseph and his Bre- thren, by, 217-8-24-5 Stories after Nature, by, 218-31 Wells, Henry T., 183 Wells, Misses, 219 Wells, Mrs. Charles, 217-8 Wells, Mrs. Henry T., 183 Elgiva, by, 183 Wemyss, Lord, 200 Wentworth, W. C., 149 Westbourne Grove, London, 156 Westminster Hall, 54, 55, 56, 67, 169 Wethered, 247 White (Model), 263-71 White (Picture-dealer), 113-4, 123-6-31-4-42-4-5-6-9-65-6-9, White Sea, The, 141 Wild, Julia, 107 Wilkie, Sir David, 148, 264 The Beadle, by, 148 Wilkinson, Dr. J. J. Garth, 44, 45*47 Williams (Laundryman), 153-7 Williams, Mrs., 217 Williams, W. Smith, 217-8-9, 281 to 286 Windermere, 96 Windsor (Ship), 307 Windus, 1 66 to 169-75-99 Winter Exhibition, London, 28, 36, 149-63-8, 306 Woolner, Henry, 34 Woolner (Senior), 40 Woolner, Thomas, 5, 24, 33, 34,40, 131-44-7-9, 152- 6-61-78-9-81, 182-4, 200-5-10-1, 214-5-7-8-20-1-2-5 to 228-30-2 to 236, 238-40-1-4-50-6, 260-1-5 to 268-79 10283-8-90-1-3-4-6 to 300-4-6-7 Carlyle, Head of, by, 296, 305-6 Euphrosyne, by, 214, 220 328 Wool ner,Thomas Friendship, Poem by, 228 Heads of Painters, by, 210 Hubert,Poemby,259 Iris, by, 239 Miss Orme, Head of, by, 306 Mrs. Patmore, Head of, by, 280-91 My Beautiful Lady, by, 211-7-28-38-9, 243-S 8 Patmore, Head of, by, 225 Puck, by, 239 INDEX. Woolner, Thomas Tennyson, Head of, by, 238-91 Wordsworth Monu- ment, Model by, 294-6, 304-6 Wordsworth, William, 233 Peter Bell, by, 2 33-9 6 > 3 Wotton, Sir Henry, 8 " You Meaner Beau- ties," by, 8, 9 Wyatt, 225-42-78 rATES, MRS., 91, 93 THE END. \ PRINTED BY KELLY'S DIRECTORIES, LIMITED, LONDON AKD KINGSTON.