Burlington jfine Hrts dlub. 1883 PICTURES, DRAWINGS, DESIGNS AND STUDIES BY THE LATE DANTE GABRIEL ROSSETTI. Born 1828; Died 1882. LONDON: PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 1883. BurliiiGton fine Hrts Club. 1883. PICTURES, DRAWINGS, DESIGNS AND STUDIES BY THE LATE DANTE GABRIEL ROSSETTI Born 1828; Died 1882. LONDON: PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 1883. LONDON : METCHIM & SON, 20, PARLIAMENT STREET, S.W., AND 32, CLEMENT'S LANE, E.C. LIST OF CONTRIBUTORS TO THE EXHIBITION. *J. DEARMAN BIRCHALL *W. BOWMAN *GEORGE P. BOYCE FORD MADOX BROWN ROBERT BROWNING Mrs. W. H. CHURCHILL MONCURE D. CONWAY Mrs. AGLAIA CORONIO FREDERICK CRAVEN Mrs. DALRYMPLE F. S. ELLIS HENRY ELLIS CLARENCE E. FRY H. H. GILCHRIST Colonel W. G ILEUM WM. GRAHAM Dr. GORDON HAKE Rev. E. HALE J. A. HEATON Miss HEATON F. HUEFFER JAS. F. HUTTON A. A, lONIDES CONSTANTINE A. lONIDES LEWIS JARVIS J. KEIR J. GOODWIN KERSHAW JAS. LEATHART FREDERICK R. LEYLAND EDWARD LLOYD VERNON LUSHINGTON J. E. MILLAIS, R.A. CHAS. W. MILLS COSMO MONKHOUSE WILLIAM MORRIS Mrs. WM. MORRIS Lord MOUNT-TEMPLE Miss MUNRO J. A. R. MUNRO COVENTRY PATMORE CRAWFORD J. POCOCK Miss POLIDORI Mrs. POPPLEWELL PULLEN GEORGE RAE Hon. Mrs. SPRING RICE Miss CHRISTINA G. ROSSETTI J. ANDERSON ROSE Mrs. GABRIELE ROSSETTI WILLIAM ROSSETTI WM. BELL SCOTT WILLIAM SHARP T. EUSTACE SMITH, M.P. F. G. STEPHENS *A. S. STEVENSON *H. VIRTUE TEBBS Mrs. TOYNBEE WM. A. TURNER LEONARD R. VALPY Mrs. RICHARD VALPY W. THEODORE WATTS H. T. WELLS, R.A. * Those who have an asterisk before their names are Members of the Club. A 2 DANTE GABRIEL ROSSETTI, jANTE GABRIEL ROSSETTI, whose Paintings and Drawings are here for the first time collected together, concurrently with the selection shown at the Royal Academy, was born in London on the 12th May, 1828. He was the eldest son of the Italian Patriot, Gabriele Rossetti, who found refuge in England in the dark time of his country's oppression under Ferdinand of Naples, and of his wife, Frances Polldori, a daughter of Signer Polidori, Secretary to Alfieri, and sister to the Dr. Polidori who travelled with Lord Byron. Rossetti was never himself in Italy, but, whilst always claiming his birthright as an Englishman, he inherited to the full the passionate fervour and ardent temperament of the South, combined with a mystic imagination, the conjoint influences of v/hich resulted in Poems and Pictures which mark a new departure in Art. As the intellectual energy of England at the period of Chaucer, and again at that magnificent era of genius, the time of Shakespeare, Spenser and Bacon, has been shown to have been largely influenced by Italian feeling and literature, so again the renewed interest in Art which marks the latter half of the present century may be due in more ways than are at present recognised to the influence of Rossetti. From the age of eighteen Rossetti attended for some time the school at the Royal Academy. He painted at this time, 1847, the interesting portrait of his father here exhibited (No. 11,) his first Oil Picture. He did not, however, find congenial the teaching then given in the schools, and abandoned them for the studio of Ford Madox Brown, his senior by some seven years, who had received his artistic training abroad. Towards this artist the young Rossetti was especially attracted by the fine dramatic qualities shown in the Cartoons which the former had recently exhibited for the proposed decorations of the Houses of Parliament at Westminster. But Rossetti's mind and temperament were too original to admit of his following in the footsteps of any master, and he soon attracted round himself a band of young and ardent comrades, with whom he formed, partly in earnest protest against the conventions and commonplace of the art then prevalent, but partly also in the. spirit of humorous defiance characteristic of youth, the celebrated pre-Raphaelite Brotherhood. This fraternity consisted of Dante Gabriel Rossetti, his brother William M. Rossetti, J. E. Millais, W. Holman Hunt, T. Woolner, F. G. Stephens, and James Collinson. In 1850 their views were brought before the world in " The Germ," a Monthly Magazine, of which the existence was only prolonged through four numbers. It contained, though with some crudity, much that was of sterling value, and is now eagerly sought for by collectors. The same movement found further expression in the " Oxford and Cambridge Magazine," which lasted through 1856, and had the valuable help of Edward Burne Jones, William Morris, and others. Besides many Poems, Rossetti wrote for " The Germ " (under the title of " Hand and Soul ") his story of Chiaro dell' Erma, a supposed Painter of Arezzo, in the 13th century, to whom the Vision, that was his Soul, thus speaks : — " Chiaro, Servant of God, take now thine Art unto thee, and " paint me thus, as I am, to know me, weak as I am, and in the " weeds of this time ; only with eyes which seek out labour, and " with a faith, not learned, yet jealous of prayer. Do this ; so shall " thy soul stand before thee always, and perplex thee no " more." This is the spirit in which were produced the earlier works now shown. 8 Somewhat later the influence of northern chivalry became strong upon Rossetti ; and the Morte d'Arthur and other romances gave him subjects for several powerful drawings, technically incomplete in some respects, but full of imaginative power, and glowing with glorious colour. Several of these were painted for his friend William Morris, who wrote to them the poems afterwards collected in the volume " The Defence of Guinevere," dedicated to Rossetti in 1858. See Nos. 14, 18, 26, and 39. But Dante and his circle held still the chief place in Rossetti's thoughts. In 1849-50 he designed the triptych of " Dante and Beatrice," of which the original sketch is here shown, (No, 33,) with studies and replicas of other parts, (Nos. 60 and 66, and 144, 146, 147,) and again in 1855 the noticeable water-colour drawing, " Dante's Vision of the Death of Beatrice," which attracted so much admiration when shown at a small Exhibition held in 1857, at Russell Place, Fitzroy Square, and which was the subject of an enthusiastic article by Mr. Vernon Lushington in the " Oxford and Cambridge Magazine," p. 479. See No. 32. Rossetti afterwards, in 1870, repeated this subject, with variations in his grander and later manner. This was his largest oil picture, and now belongs to the Walker Art Gallery in Liverpool ; it is exhibited at present at the Royal Academy. He painted another version of this his favorite subject, in 1878, for Mr. W. Graham, to which he added a predella. This is now here exhibited (No. 85),* and should be compared with No. 32. The subject is taken from the Vita Nuova of Dante (translated in Rossetti's " Early Italian Poems," 1861, pp. 261-272) : — " Til en Love spoke thus : ' Now all shall be made clear; Come and behold our Lady where she lies.' These idle fantasies 'J1ien carried me to see my Lady dead, And when I entered, Ladies I saw with a veil covering her ; And with her was such very humbleness. That she appeared to say, I am at peace." As characteristic work of this time, attention may also be directed to No. 36, " St. George and the Princess Sabra/' and to No. 38, Hesterna Rosa. * This picture may not be obtainable at the date of opening the Exhibition, but is expected to be shown on and after the 20th January. B lO Rossetti was now living- at Blackfriars, in chambers overlooking tlie Thames, in a house since pulled clown during the construction of the Embankment. Here, in i860, he married; but in little more than a year he had, in February, 1862, the sorrow to lose his wife; and he shortly afterwards remo\ed to Cheyne Walk, Chelsea, where he chiefly resided for the rest of liis life. The next ten years mark a great change and advance in his art. The early influences, with their enthusiasms, and also the early shortcomings, had largely passed away. The other members of the pre-Raphaelite brotherhood were also of too individual genius to remain long in a common band, and had gone their several ways, Avith what result the world has seen. Rossetti himself now beo-an to paint pictures on a somewhat larger scale than heretofore, and to make for them those fine preparatory drawings in crayon, so many of which are collected in the present exhibition. The early asceticism and the later eftbrts to represent violent action and emotion had gone by, and in their place the pomp of life and a large and luxurious type of female beauty were rendered again and again. The mystic and spiritual elements are, however, never lacking. II "Lilith" is shown in her seductive beauty but the accompanying^ sonnet closes with her ''' strangling golden hair." The " Arch of Life " encompasses Sibylla Palmifera — but as well as Love — Death, Terror and Mystery are her immediate sur- roundings ; and in the " Venus Verticordia " the Dart is crivcn as well as the Apple. But most often his choice of a type of beauty is one of mystic intensity, sorrov/ful, and as if filled with thoughts of a far-away land. This found its appropriate expression in Pictures of " Proserpine " and " Pandora." The former, and Studies for both these Pictures are now here, in Nos. 86, 8i, 92, and yS. In 1870, Rossetti was prevailed upon to collect and publish the Poems, which had long been the delight of his friends, and this was followed by another volume in 1881, when he also re-cast the contents of the earlier volume, and made several additions. It is unnecessary here to refer further to the facts of Rossetti's life, which of late years became very secluded. He possessed the faculty of calling forth in a most unusual degree the admiration and personal affection of his friends, and found in their congenial companionship all the relaxation he cared for from the pursuit of his Art. He declined on principle to exhibit his pictures, and they B 2 12 found ready purchasers in his own circle, of which his rich and full nature and dominating energy necessarily made him the centre. He died at Birchington-on-Sea, whilst staying at a house of his life-long friend John Seddon, on Easter Day last, 9th April, 1882, and the sorrow of his loss is too recent and severe, for one who felt honoured by his friendship, to attempt now any estimate of his art and career, for which, indeed, this is not a fitting opportunity. For this, the admirers of Rossetti await the work on which his faithful friend, Mr. Theodore Watts, is known to be engaged, but which will not probably appear for some time to come. In the meanwhile, those interested in the poet-painter may find some account of his last years, when he was sadly broken in health, in the "Recollections" of Mr. T. H. Caine, besides a much fuller account by Mr. William Sharp, in a volume entitled, " Dante Gabriel Rossetti: a Record and a Study," which contains appreciative notices of his chief pictures, and an interesting and nearly complete list of his works, with their dates and the names of the present possessors. This list has been of great service in the formation of the collection here exhibited. Mr. F. G. Stephens, the companion of Rossetti's early days, and his friend to the last, also promises a biography, from which much interesting detail and criticism may be anticipated. Rossetti's art-work is now for the first time before the world in its completeness, for judgment and appreciation. Many of the Pictures and Drawings in the present Collection were considered by the Artist himself to be among his best works. It may be permitted in conclusion to reinark, in gratitude to his memory, that, so far as such things can be said to be due to the influence of individual minds when necessarily concurrent influences are at work, the revival of poetic art which we now see around is mainly due to the work of two men — John Riiskin and Dante Gabriel Rossetti. H. Virtue Tedbs. Burlington Fine Arts Club, January, 1883. CATALOGUE The measurements throughout are given in inches. In the Notes, "r." and "1." refer to the right and left of the Pictures as seen by the spectator, save as regards direction of faces or figures, which arc given in their natural relation. In the references appended to each entry, " S.'' succcedjd by a number relates to the picture's corresponding number in the Catalogue of the Artist's works supplementary to Mr. AVilliam Sharp's " Dante Gabriel Rossetti : a Record and a Study.'' No. 1 "FOUND.' Early study for the oil picture nov/ at the Academy, and still unfinished, the latter in the Royal Academy Catalogue being wrongly dated as 1882. The picture was begun as early as 1853. Monogram and date in lower I.e. Inscribed in gold letters on the base of the frame, " I remember thee — the kindness of thy youth, and the love of thy betrothal." — Jerem. ii., 2. (marg.) and lower, in black, " Found." The following sonnet was written for the subject, and will be found amongst the Ballads and Sonnets : — FOUND. " There is a budding morrow in midnight ;" So sang our Keats, our English nightingale ; And here, as lamps across the bridge turn pale In London's smokeless resurrection-light. Dark breaks to dawn. But o'er the deadly blight Of love deflowered and sorrow of none avail Which makes this man gasp and this woman quail, Can day from darkness ever again take flight ? Ah ! gave not these two hearts their mutual pledge Under one mantle, sheltered 'neath the hedge In gloaming courtship? And, O God ! to-day He only knows he holds her; — but what part Can life now take ? She cries in her locked heart, '• Leave me — I do not know you — go away ! "' Pen and Ink. iS53- (S. 393.) Size, 8 by 7?. Lent by Co! . ]\\ GUluin. i6 No. 2 THE LABORATORY. {Ancien Regime) '' In this devil's smithy, Which is the poison to poison her, prithee ? " — Robert Broiiniing. The point chosen for illustration is that when the heroine of the poem gives up her jewels in payment to the alchemist for poison for her rival. This is the artist's first water colour drawing. Water Colour. 1849. (S.6.) Size, 7fby9J. Loit by Win. Bell Scott, Esq. No. 3 THE ANNUNCIATION. The Virgin, stooping, with half-upraised head^ is bathing her feet in a rivulet. The Dove is hovering over her head. The Angel, with arms outspread and wings crossed, has descended towards her amidst the trees. Inscribed on frame by the Artist, " My beloved is mine, and I am his : he feedeth among the lilies"; "Hail, thou that art highly favoured : blessed art thou among women." Water Colour (unfinished). 1852. (S. 17.) Size, 14^ by 9|. Lent by George P. Boyce, Esq. No. 4 PORTRAIT OF MISS SIDDALL. Afterwards the artist's wife. Seated on the ground. Nearly full face. Grey dress and green background. "July 18 — 55 " in lower I.e. Water Colour. 1855. (S. 387.) Size, 6i by 6. Lent by H. T. Wells, Esq., R.A. No. 5 PORTRAIT OF THE ARTIST'S WIFE. Head turned to 1., leaning on folded hands. Green background. Water Colour. 1861. (S. 385). Size, 7l by 6i. Lent by H. T. Wells, Esq., R.A. 17 No. 6 DANTE'S MEETING WITH BEATRICE. Beatrice and her companions in blue dresses with green robes. Other processional figures. On the r., leaning against a porch, is Dante, clad in red, with a dark hood. Behind Dante and the friend who holds his arm, is a fresco, with white angels on a blue ground. In 1. foreground, corner of a vineyard, with grape cutters. Water Colour. 1849. (S. 384.) Size, I3|by i6|. Le7it by H. T. Wells, Esq., R.A. No. 7 THE TWO MOTHERS. A Mother holding her child before a Madonna and Child. See No. 12. Oil. 1852. (S. 18.) Size, 12^ by lo^. Lent by J as. F. Hut ton, Esq. No. 8 ST. CATHERINE. A Mediceval Artist painting from a Lady a full length picture of St. Catherine with accessories ; other figures in background. The only oil picture painted between 1853 and 1858. Oil. 1857. (S. 346.) Size, 1 3§ by 93. Lent by J. G. Kershaiv, Esq. No. 9 SMALL UPRIGHT FEMALE FIGURE IN RED. (Venetian Costume.) Inscribed " Dante Rossetti, Fecc in Londra, 1850." Artist's second Water Colour. Water Colour. 1850. (S. 7-) Size, 9f by 7^. Lent by Ford Madox Brown, Esq. No. 10 FEMALE FIGURE SINGING TO A LUTE. Full length, with mediaeval head dress. Study, in yellow. Water Colour 1853. Size, ^ by \^. L.ent by Mrs. Constance Churchill. C i8 No. 11 PORTRAIT OF PROFESSOR GABRIELE ROSSETTI. (yEtat 64.) The Father of the Artist. This is the Painter's first Oil Picture. Oil on Canvas. 1847. (S. I.) Size, 21 J by 17.}. Lent by W. M. Rossetii, Esq. No. 12 THE QUEEN'S PAGE. " ' Hist ! ' said Kate, the Queen. But, ' O,' said the maiden, binding her tresses, ' It's only a page that carols unseen ; Crumbling your hounds their messes, Fitting your hawks their jesses.' " Pippa /'aj-j-^i'.— Robert Browning. This drawing is not included in Mr. Sharp's list, but is the original in water colour from which afterwards Rossetti began a large painting in oil. subsequently destroyed ; a portion, however, was preserved in Mr. Hutton's "Two Mothers" (No. 7). See Mr. Sharp's volume, p. 146, and his catalogue, Nos. 18 and 26. Water Colour. 1851. Size 12 by 22|. Lent by tJie Hon. Mrs. Spring Rice. No. 13 PAOLO AND FRANCESCA. Finished study for the Triptych, belonging to Mr. J. Leathart ; not a different design as mentioned in Mr. Sharp's list. (S. Cat. Nos. 102, 103). On centre in gold ground figures of Dante and Virgil ; to 1., Paolo and Francesca embracing ; to r., figures of Paolo and Francesca floating in Inferno, back- ground of flames. Compare with No. 17. Inscribed above, " O Lasso," and below — " Quantl dolci pensier, quanto disio Meno costoro al doloroso passo ! " // Puri^ratorio, C. V. Water Colour. Ante 1862. (S. 102.) Size, 9| by 17^. Lent by Geo. Rae, Esq. 19 No. 14 MORTE D'ARTHUR. CHAP. CXLIV. Inscribed on base of frame : — " How Sir Launcelot was espied in the Queen's chamber, and how Sir Agravaine and Sir Mordred came with twelve knights to slay him." " D.G.R. (in monogram) Oxford 1857 " iri lower I.e. Pen and Ink. 1857. Size, 13I by loj. Lent by J. Atiderson Rose, Esq. No. 15 RUTH AND BOAZ. Boaz is kissing the forehead of Ruth, and clasping her hands amidst the standing corn. Water Colour. 1858. (S. 353.) Size, I2i by 7. Lent by Mrs. Poppleivell Pullen. No. 16 " LA BELLE DAME SANS MERCY." Inscribed in the lower r.c. (in monogram) "D.G.R. 1855." The musical notes G.D. in upper r.c. The original of this subject in sepia (1848), belongs to Mr. J. A. R. Munro, and bears the following two verses by Keats inscribed upon it, a text differing from the published copy : — " I met a lady in the wood, Most beautiful, a fairy's child; Her hair was long, her step was light. And her eyes were wild. I walked with her in the green shade, And nothing else saw all day long. For sideways would she lean and sing A fairy's song." Water Colour. 1855. (S. 36.) Size, 14I by 6|. Lent by Geo. P. Boyce, Esq. C 2 20 No. 17 PAOLO AND FRANCESCA. Study for the compartment of the Triptych No. 13. Inscribed below design, on mount, " Dante G. Rossetti to his friend Alex : Munro." Pencil. 1854. Size, 8| by 6§. Lent by J. A. R. Munro, Esq. No. 18 THE TUNE OF SEVEN TOWERS. See Defence of Guettevere, &c. W. Morris, p. 199. Exhibited at Russell Place Gallery, 1857. I am unhappy now, I cannot tell you why ; If you go, the priests and I in a row Will pray that you may not die. " Listen ! " said fair Yoland of the flowers, " This is the the tune of Seven Towers." Water Colour. 1857. (S. 50.) Size, I2|by I4|. Lent by Geo. Rae, Esq. No. 19 LEAH AND RACHEL. Rachel seated on the side of a well, against which Leah leans — Jacob walking in landscape background. Water Colour. 1861. (S. 92.) Size, 13I by I2t. Lejtt by Miss Heaton {Leeds). No. 20 THE MEETING OF DANTE AND BEATRICE IN THE PURGA TORIO. Inscribed on face of Drawing in I.e. " D. G. R." ; and on frame " Dante, Div. Com. Purg. XXX." " Guardami ben, ben son, ben son, Beatrice." The first Water Colour Drawing of which S. 68, in Oil, and 124, in Water Colour, are replicas. For the latter, see No. 150. Dante, with hands upraised, stands weeping before Beatrice, who, accompanied by two Angels playing on musical instruments, unveils her face to him. Green landscape behind. Water Colour. 1852. (S. 16.) Size, 11^ by 9|. Lent by Geo. P. Boyce, Esq. 21 No. 21 TAURELLO'S FIRST SIGHT OF FORTUNE. This Drawing, believed to be the sole illustration of Air. Browning's Poem " Sordello," refers to a soliloquy of Taurello Salinguerra : — " That aloe, an he durst. Would climb ! Just such a bloated sprawler first I noted in Messina's castle court The day I came, and Heinrich asked in sport If I would pledge my faith to win him back His right in Lombardy ; for, " once bid pack Marauders," he continued, " in my stead You rule, Taurello ! " and upon this head Laid the silk glove of Constance — I see her Too, mantled head to foot in miniver, Retrude following." The scene is on the ramparts of the castle, at Messina, the city appears in the distance. Taurello, as a young man, holds a bow and receives from his dog an arrow, which, in playing with that animal, he has discharged. Henry, the King of the Romans (afterwards the Emperor Henry II.), is in the act of pinching the cheek of his guest with one hand, while he is about to receive with the other " the silk glove of Constance," which the Queen, herself, is drawing off in order that it may, according to the ancient mode of investiture, be laid upon the head of Taurello. Ecclin is in front of the group. Retrude, who became the first wife of Taurello, looks over the shoulder of Constance. Inscribed on the mount in lower I.e. " Frederic G. Stephens, from his P. R. Brother — Dante G. Rossetti." Pen and Ink. C, 1848. Size, 9| by loi. Lent by F. G. Stephens, Esq. No. 22 MY LADY GREENSLEEVES. Single female figure kneeling and placing a green sleeve round her knight's helmet. Crest on helmet, a heart. General tone of drawing, golden. In background, four bars of the melody with the words — " Greensleeves is my heart of gold. And who but my Lady Greensleeves!" Water Colour. 1859. (S. 357.) Size, 12 by 7. Lent by the Rev. Edzvard LI ale. 22 No. 23 GOLDEN WATER. Princess Parizade descending from the mountain, behind her the singing tree, the talking bird fluttering above her, and having in her arms the barrel containing the golden water. Vide " Arabian Nights," Story of the Two Sisters who were jealous of their younger sister. This was first purchased, with other works of Rossetti, by Mr. Ruskin, and given by him to the present possessor. Water Colour. 1858. (S. 63.) Size, 14^ by 7^. Lent by Mrs. Constance Chinxhill. No. 24 HEAD OF CHRIST. Profile to r. Nimbus behind head. Replica of the head in the drawing, " Mary Magdalene at the door of Simon the Pharisee." See No. 33a. Water Colour and Oil. 1859. (S. 72). Circle, 8| dia. Lent by Monctire D. Conway, Esq. No. 25 " BURD-ALANE." \ length. I face to r. Woman leaning against a parapet. White and yellow head-dress. Spray of honeysuckles in left hand. Honeysuckle background. D.G.R. in monogram in lower I.e. Oil. 1861. (S. 84.) Size, iiiby 12^. Lent by J. I^eathart, Esq. No. 26 CHAPEL BEFORE THE LISTS. Morte n Arthur. The Lady (in the chapel) embracing the Knight whom she has helped to arm for the combat. The Lists in the background, with priests and heralds. Water Colour. i855- (S. 38.) Size, ISJ by \6\. Lent by Geo. Rae, Esq. 23 No. 27 "THE SUN MAY SHINE AND WE BE COLD." Girl, with clasped hands, sitting in a window niche. Inscribed on mount below design, " May I48. Dante G. Rossetti to his friend Alex. Munro." Pen and Ink. 1848. Size, 8 by 6-^. Leui by J. A. R. Munro, Esq. No. 28 HOW THEY MET THEMSELVES. Replica, enlarged, of the original in black and white belonging to Mr. G. P. Boyce (S. Cat. 75). Water Colour. Circa 1864. Size, 13^ by io|. Le?it by J. A tidcrson Rose, Esq. No. 29 MARY, VIRGIN, IN THE HOUSE OF JOHN ON THE NIGHT OF THE CRUCIFIXION. Study for the picture. (S. Cat. 62.) Inscribed " Dante Rossetti," in lower r.c. Pencil. 1857. Size, 9I by 8J. Lent by L. Jar vis, Esq. No 30 "THE MERCILESS LADY." A youth is seated between his sweetheart and a fair interloper. He gazes, fascinated, at the face of the latter, who is accompanying her singing on a musical instrument, he, meanwhile, keeping hold of the hands of his true love. An outlook upon a green landscape behind. Inscribed in lower r.c. in monogram, " D.G.R. 1865." Water Colour. 1865. (S. 145.) Size, I2| by 12. Lent by Geo. P. Boyce, Esq. 24 No. 31 HAMLET AND OPHELIA. Inscribed on frame : — Hamlet. I did love you once. Ophelia. Indeed, my lord, you made me believe so. Hamlet. You should not have believed me ; for virtue cannot so inoculate our old stock, but we shall relish of it : I loved you not. Ophelia. I was the more deceived. Hamlet. Get thee to a nunnery ; why would'st thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me. What should such fellows as I do crawling between earth and heaven ? — Act III., Sc. i. In gold : — " Extol not thyself in the counsel of thine own heart, that thy soul be not torn in pieces ; Thou shalt eat up thy leaves, and lose thy fruit, and leave thyself as a dry tree." — ECCLESIASTICUS, chap. vi. On back of seat is sculptured the Tree of Knowledge, with crowned serpent between two angels ; with inscription, Eritis siait deos scientes bonuin et inaliun. On miserere seat below, the figure of Uzzah fallen dead after touching the ark, inscribed Uzzaiis. Pen and Ink. Circa 1855. (S. 35.) Size, 12^ by loj. Lent by Colonel W. Gil him. No, 32 DANTE'S DREAM AT THE TIME OF THE DEATH OF BEATRICE. The subject is taken from the Vita Nuova of Dante. " I seemed to look towards Heaven, and to behold a multitude of angels who were returning upwards, having before them an exceedingly white cloud. * * * * Then my heart, that was so full of love, said unto me, ' It is true that our lady lieth dead.' And it seemed to me that I went to look upon the body wherein that blessed and most noble spirit had had its abiding place. And so strong was this idle imagining that it made me to behold my lady in death ; whose face certain ladies seem to be covering with a white veil, and who was so humble of her speech, that it was as though she said, ' I have attained to look on the beginning of peace.' " — Rossetti's Early Italian Poets, p. 267. See also " Introductory Notice," p. 8-9, and compare with later version No. 85, and studies therefor, Nos. 144, 146, 147 ; also 60 and 66. Water Colour. 1855. (S. 37). Size, i8| by 25^. Lent by Miss Heaton {Leeds). No, 33 "IL SALUTO DI BEATRICE." In the r. compartment is represented Dante's famous meeting with Beatrice. This has the monogram and date (1849) "^ lower I.e., and below the drawing the inscription, " E cui saluta Fa tremar lo core." In the 1. compartment is represented the meeting of Dante and Beatrice in Paradise. Monogram and date (1850) in lower I.e. Below the drawing the inscription, " Guardami ben; ben son, ben son, Beatrice." Between the two compartments a youthful figure of Love, with down-turned torch in r. hand, a'.:!d in 1. a dial with the recorded date of the death of Beatrice. Above the head the date itself "9 Giugno, 1290;" above this are the words " Ita n'e Beatrice in alto cielo," and below Love " Ed ha lasciato Amor meco dolente." Titular inscription. Pen and Ink. 1849 ^"d 1850. (S. 5.) Size, 14^ by 253. Lent hy Geo. Rae, Esq. No. 33a MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE. Mary has left a festal procession, and is ascending by a sudden impulse the steps of the house where she sees Christ. Her lover has followed her and is trying to lure her back. See sonnet in Poems, and compare v.ith Nos. 136A and 24. Photograph from Pen and Ink Drawing. 1858. (S. 58.) Si7,e, 12 by \ol. Lent by Mrs. Dabymplc. No, 34 FRANCESCA DA RIMINI. (Dante's Inferno, c. v.) Repetition of the subject in the left compartment of No. 13. Water Colour. 1854. (S. 30.) Size, 1 5» by 13. Lent by Win. Graham, Esq. No. 35 CASSANDRA. The Artist's own description is " The subject shows Cassandra prophesying among her kindred, as Hector leaves them for his last battle. They are on the platform of a fortress, from which the Trojan troops are marching out. Helen is arming Paris ; Prian soothes Hecuba ; and Andromache holds the child to her bosom." See the two Sonnets on this picture in Rossetti's Poems, pp. 272-273. Pen and Ink. 1861, retouched 1867. (S. 83.) Size, i3by i8i. Lent by Col. IV. GiUnm. D 26 No. 36 ST. GEORGE AND THE PRINCESS SABRA. St. George, in a dalmatic, after the combat with the Dragon, washing his hands in his hehnet held by the kneeling Princess whom he has released. Seen through the window is the procession carrying the slain Dragon. Water Colour. 1862. (S. 98.) Size, 1 5| by 13. «.> Lent by Miss Heatoii {Leeds). No. 37 MICHAEL SCOTT'S WOOING. Different from the larger design belonging to Mr. Trist, and now in the R. A. Inscribed in lower r.c. " D. G. R., 1853," to A. M., in monogram (Alexander Munro). Titular inscription in lower I.e. Pen and Ink. 1853. .Size, 7} by SJ. Lent by J. A. R. Munro, Esq. No. 38 HESTERNA ROSA. The Artist's description is," The scene represented is a pleasure tent, at the close of a night's revel, now growing to dawn. * * * * The eff"ect is that of a lamplight interior towards dawn, when (or in twilight also) all objects seem purely and absolutely blue by the contrast with the warm light therein." The original pen and ink design of this subject was made in 1 851. (S. 14.) Water Colour. 1865. (S. 139.) Size, lol by 14^. Lent by Fredk. Craven, Esq. No. 39 FIGHT FOR A WOMAN. Morte D'Arthur. Two Knights in a wood fighting for a woman, who crouches at the foot of a tree. Water Colour. Circa 1865. (S. 146.) Size, 13^ by 11. Lent by George Rae, Esq. No. 40 REVERIE. Inscribed on Scroll in upper I.e. " D.G.R. (in monogram) 1868." A Lady seated, leaning her head on left hand. Crayons. 1868. (S. 187.) Size, 33 by 28. Lent by W. Theodore Waits, Esq. No. 41 MRS. GABRIELE ROSSETTI. The Artist's mother. Head and bust. Nearl)^ full face. White cap on head. Crayons. 1875. (S. 282.) .Size, 15 A by 12. Lent by Wvi. Rossctti, Esq. No. 42 PORTRAIT OF MRS. GABRIELE ROSSETTI. The Artist's mother. Oil. 1866. (Not in S. Cat.) Size, 29I by 24^ Lent by Mrs. Rossetti. No. 43 MISS CHRISTINA G. ROSSETTI. Head and bust. Y^ profile to r. Crayons, , 1877. (S. 281.) Size, 17 by 14.. Lent by Win. Rossctti, Esq. No. 44 LADY SEATED NEAR A TABLE On which is a Glass Jar containing Roses. Hands together on lap. ^^ length. Crayons. 1868. (S. 180.) Size, 34a by 27 \. 1868. Lent by E\ S. Ellis. Esq. No. 45 " BELCOLORE." A golden haired Girl holding in her 1. hand a rose-spray, a bud of which she is biting. Pearl necklace. Blue-green dress. Inscribed on background " Belcolore," and (in monogram) " D. G. R. 1S63." Oil. 1863. (Not in S. Cat.) Circle, 10^ dia. Lent by G. P. Boycc, Esq. No. 46 FEMALE PORTRAIT. Head turned to r. Inscribed in lower r.c. " D.G.R." (in monogram) " 1S62." Ruddy hair, dark blue dress. Oil on Canvas. 1S62. (S. 104.) Circle, lo-in. dia. Lent by Geo. Rac, Esq. D 2 28 No. 47 LADY LILITH. " The Thalmudists say that Adam had a wife called Lilis, before hee married Eve, and of her he begat nothing but diuils." — Atiatomy of MelancJwly (1624) /.' 37. — Burton. •' l^ilith is, in the popular belief of the Hebrews, a female spectre in the shape of a finely dressed woman * * * " — Commentary on Isaiah. — GeseniuS. The following sonnet is inscribed on the frame, and differs slightly from the published text. LADY LILITH. Of Adam's first wife, Lilith, it is told (The witch he loved before the gift of E\ e,') That, ere the snake's, her sweet tongue could deceive, And her enchanted hair was the first gold. And still she sits, young while the earth is old, And, subtly of herself contemplative. Draws men to \\atch the bright net she can weave, Till heart and body and life arc in its hold. Rose, foxglove, poppy are her flowers ; for where Is he not found, O Lilith, whom shed scent And soft-shed fingers and soft sleep shall snare? Lo ! as that youth's eyes burned at thine, so went Thy spell through him, and left his straight neck bent, And round his heart one strangling golden hair. Oil. 1864. (S. 131.) Size, 37| by 32. Lent by Frederick R. Leyland, Esq. No. 48 PORTRAIT OF MRS. J. A. HEATON. Inscribed " Regina Cordium " on Scroll at bottom. Monogram D. G. R., and " Woodbank, November, 1861." In upper r.c. E. M. H. in heart, 1861. Oil. 1861. (S. 187.) Size, 10} by 8J. Lent by J. A. Heat on, Esq. Ho. 49 PORTRAIT HEAD— MRS. VERNON LUSHINGTON. i face to r. Green background. Monogram and date to r. Water Colour. 1865. Oval. Size, 8} by 7. I^c7tt by Vernon Lnshington, Esq. 29 No. 50 GIRL AT A LATTICE. Long black hair falling on shoulders. Coral necklace. Lilac-spotted dress. In lower r.c. a blue and white jug containing Wall-flowers. Inscribed on face in left hand c. (in monogram) "D. G. R, 1862." Oil. 1862. (S. 99.) Size, 1 2 by 12. Lent by G. P. Bojce, Esq, No. 51 " THE LOVING CUP." ^ figure. Head inclined to right. Lake coloured dress, green veil. She is holding " The Loving Cup " in r. hand, and its lid in her left. Diapered lace back ground, and four golden Salvers thereupon. " D. G. R." (in monogram) "1867" in lower l.c. Inscribed on frame at base : " Douce nuit et joyeux jour, A chevalier do bcl amour."' Water Colour. 1867. (S, 170.) Size, 17J by 14^. Lent by A. S. Stevenson, Esq. No. 52 " A CHRISTMAS CAROL." Girl (half length) in Indian dress, playing on a musical instrument supported by green scarf twisted round her neck. Head upturned, face looking to r. Silver heart-shaped ornament with Madonna and child on flowered background. Inscribed on base of frame : " Here a maid, well apparelled, shall sing a song of Christ's birth, with the tune of Bululalow : " "Jesus Christus hodie Natus est dc Virgine." Wijiclicstcr Mysteries, Oil. 1867. (S. 336.) Size, I7iby Ui- Lent by Geo. Rae, Esq. 30 No. 53 PORTRAIT OF MRS. MORRIS. -}( length. Seated at a table, with a glass tliereon filled with roses, and a book on which carnation rests. Inscribed at top of canvas : " Jane Morris, A. D. 1868. D. G. Rossetti pinxit. Conjuge clara poeta, et prai-clarissima vultu, denique pictnra clara sit ilia mea ! " Oil. , 1868. (S. 240.) Size, 43Aby 35^ Z^;// df Wm, j\ I orris, Esq. No. 54 "WASHING HANDS." The artist thus describes the design :— " This drawing * * * represents the last stage of an unlucky love affair. The lady has gone behind the screen to wash her hands^ and her lo\-cr has followed her there, and has still something to say ; but she has made up her mind. ****** It is all over, and she is wasliing her hands of it." Monogram and date in lower I.e. Water Colour. (August) 1865. (S. 143.) Size, i7Tl3y Hi- Lent by Frederick Craven, Esq. No. 55 LADY LILITH. Reduced replica of No. 47. Different face. Monogram and date in lower I.e. The same sonnet as quoted to No. 47 is inscribed on the frame above and below. Water Colour. i8<57- (S. 171.) Size, 2o;i by 16. Lent hy A. S. Stevenson, Esq. No. 56 "JOLI CCEUR." Bust showing hands. Head to left. "D.G.R. (in monogram) 1867," in upper r.c. " Toll Coeur " inscribed in upper I.e. Oil. ^^^i- (S. 163.) Size, \\\ by 12. Lent by W, A . Turner, Esq. 31 No. 57 ANDROMEDA. Head and bust inclined downward to r. Monogram and date in upper r.c. Crayons. 1867. (S. 158.) Size, 2i|by 20J. Lent by F. R. Leylnnd, Esq. No. 58 PORTRAIT OF MRS. WM. ROSSETTI. Head turned to right. Rose in hair. Inscribed with monogram in lower I.e., and " 1874" in lower r.c. Crayons. i'^74' (S. 242.) Size, 21 by 16. Lent by Win. Rossctii, Esq. No. 59 PORTRAIT OF MRS. H. VIRTUE TEBBS. Plead to left. Inscribed with monogram and date in lower r.c. Crayons. 1 870. (S. 205.) Size, 24:} by 19. Lent by H. Virtue Tebbs, Esq. No. 60 STUDY OF A FEMALE HEAD. Study for one of the pall-bearing ladies in " Dante's Dream," Half profile to r. Monogram and date in lower I.e. v Cravens. 1870. (S. 207.) Size, 18 by 15. Lent by Clarence E. Fry, Esq. No. 61 PORTRAIT OF MRS. AGLAIA CORONIO. Head and bust. ^ face, turned to 1. White dress. Alonogram and date in upper r.c. Crayons. 1870. (S. 209.) Size, 20^ by 17 J. Lent by Constantine A. lonides, Esq. 32 No. 62 HEAD OF MISS JANE MORRIS. Face turned to 1. Eyes looking downward. Monogram and date in lower r.c. Crayons. 1871. Size, 17.1 by 15^. Lent by Wm. Morris, Esq. No. 63 HEAD OF MISS MAY MORRIS. f face to r. Monogram and date in lower r.c. Cravons. 1 87 1. (S. 241.) Size i7i by 15J. Lent by Wni. A/orris, Esq. No, 64 STUDY OF A HEAD. I face downward to r. (No date.; Crayons. 1868. (S. 184.) Size, I9f by 14^ Lent by Constantine A, Lonides, Esq. No, 65 A MAGDALENE. h[ead and neck. Head upturned, | face to 1. Crayons. 1 876. (S. 277.) Size, 16 by 12^. L^ent by George Rae, Esq. No, 66 STUDY OF A FEMALE HEAD. Study for one of the pall-bearing ladies in " Dante's Dream." Head upturned. Face nearly profile, turned to 1. Monogram and date in lower I.e. Crayons. 1870. (S. 208.) Size, ^^ by 15}. Lent by Clarence E. Fry, Esq. 33 No. 67 LA PIA. Lady (f length) seated on a low castle wall, leaning on a parapet. Head and figure turned to r. Overhead the branches of a tree. The Maremmese Marshes beyond. Head and hands in red chalk, accessories in blue. Different from the oil picture (S. Cat., 314). Crayons. Circa 1868. (S. 188.) Size, 29 by 24. Leni by L. R. Valpy, Esq. No. 68 LA DONNA COLL' BELLI MANL Sometimes called " Washing Hands," but quite different from No. 54. I figure, turned to 1. See two sonnets on this subject in Rossetti's "Ballads and Sonnets," 1881, PP- 334-5- Crayons. 1875. (S. 246.) Size, 39 by 28J. Lent by W. A, Turner, Esq. No. 69 VENUS VERTICORDIA. Finished study for an oil picture. ^-length nude female figure. Hair falling over 1. breast. Background of trellis- work with roses intertwined. Bird poised before flight on a bar thereof The title inscribed on white label at base. On scroll in upper r.c. the following sonnet, which varies essentially from the published text : — She hath it in her hand to give it thee, And yet within her heart would hold it back ; She muses with her eyes upon the track Of some dazed moth or honey-seeking bee. " Haply, he is as one of these," saith she ; " Alas ! the apple for his lips, — the dart That follows its brief sweetness to his heart, The wandering of his feet perpetually ; A little space her glance is still and coy ; But if she give the fruit that works her spell, Those eyes shall flame as for her Phrygian boy ; Then shall her bird's strained throat the woe foretell. And her far seas moan as a single shell, And through her dark grove strike the light of Troy. Crayons. '863. (S. 114.) Size, 30} by 23^. Lent by IVvt. Graham, Esq. 34 No. 70 LA MANDOLINATA. I length. Lady in a brocaded dress. Head downward to r. Playing a mandolin. Scroll in upper r.c. ; in centre thereof, monogram and date. Crayons. 1869. Size, 35| by 27J. Lent by J. Deannan Bircka/l, Esq. No. 71 A FEMALE HEAD. Study for the head of Astarte in " Astarte Syriaca." Monogram in lower I.e., and date in lower r.c. Crayons. 1875. (S. 254.) Size, 21^ by i7|. Lent by Clarence E. Fry, Esq. No. 72 THE BLESSED DAMOZEL. Has no background groups as in Mr. Graham's picture, and otherwise varies. The Blessed Damozel (head and shoulders only) in white veil and green drapery, leaning on the bar of heaven, looking downward. Below her are two Angels (busts), and above to the r. three red-winged Cherubs. In the predella is represented a twilight landscape, with the lover looking upward, with hands clasped behind his head. The blessed damozel leaned out From the gold bar of Heaven ; Her eyes were deeper than the depth Of waters stilled at even ; She had three lilies in her hand, And the stars in her hair were seven. ****** It was the rampart of God's house That she was standing on ; By God built over the sheer depth. The which is space begun. ****** And still she bowed herself and stooped Out of the circling charm, Until her bosom must have made The bar she leaned on warm, And the lilies lay as if asleep, Along her bended arm. ****** 03 " 1 wish that he were come to me, For he will come," she said. " Have I not prayed in Heaven? on earth Lord, Lord, has he not prayed ? Are not two prayers a perfect strength ? And shall I feel afraid ? " Oil. 1879. (S. 301.) Size, 43 by 32. Predella, 14 by 32. Lent by Frederick R. Ley land, Esq. No. 73 VENUS VERTICORDIA. A later and varied study of same subject as No. 69. Trellis work in background as in No. 69, but no bird. On white scroll in upper r.c, no sonnet but simply " Venus Verticordia." On narrow white label at base, " D. G. R. A.D., 1867." Eyes looking to left. , Face different from that of No. Crayons. 1867. (S. 159.) Size, 30jby 23J. Lent by F. R. Leylatid, Esq. No. 74 LIGEIA SIREN. Female figure (| length). Head nearly profile to right. Playing a musical instrument. Drapery round head, and flowing round 1. arm and in front of body. Sea beyond, with vessel midway. Crayons. ^^7i- (S. 222.) Size, 31^ by 18^. L.ent by Constantine A, Lonides, Esq. No. 75 PORTRAIT OF MISS CHRISTINA ROSSETTI. ^ length. Seated before a reading table. Hands clasped under chin. Inscribed in upper r.c, "Christina Rossetti. D. G, R. (in monogram^ del. September, 1866." Crayons (blue ground). 1866. (S. 150.) Size, 32 by 26. Lent by Miss Christina G. Rossetti. E 2 36 No. 76 THE DAY DREAM. Head and hands in red and black chalk, accessories in black. Seated amidst the branches of a tree, right hand holding one branch, left hand leaning on a book on lap. The following sonnet was written for the subject and will be found in the " Ballads and Sonnets," p. 330 : — THE DAY DREAM. The thonged boughs of the shadowy sycamore Still bear young leaflets half the summer through; From when the robin 'gainst the unhidden blue Perched dark, till now, deep in the leafy core ; The embowered throstle's urgent wood-notes soar Through summer silence. Still the leaves come new, Yet never rosy-sheathed as those which drew Their spiral tongues from spring-buds heretofore. Within the branching shade of Reverie Dreams even may spring till autumn ; yet none be Like woman's budding day dream, spirit fann'd. Lo ! tow'rd deep skies, not deeper than her look, She dreams ; till now on her forgotten book Drops the forgotten blossom from her hand. Crayons. 1878. (S. 289.) Size, 4if by 30. Lent by Mrs. William Morris. No. 77 BEATA BEATRIX. A replica of the original oil of 1863. Inscribed in upper I.e.. " Beata Beatrix," and in upper r.c. " Quomodo sedet sola civitas plena populo." Monogram and date in lower r.c. See No. 83. Crayons. 1869. (S. 67.) Size, 33 by 255. Lent by Wm, Graham, Esq. No. 78 PANDORA. This design has been several times replicated or drawn ; but No. 78 is the original. Monogram and date in lower r.c. 37 The following Sonnet was written for it, and will be found amongst Rossetti's Poems : — PANDORA. What of the end, Pandora ? Was it thine, The deed that set these fiery pinions free ? Ah ! wherefore did the Olympian consistory In its own likeness make thee half divine ? Was it that Juno's brow might stand a sign For ever ? And the mien of Pallas be A deadly thing ? And that all men might see In Venus' eyes the gaze of Proserpine ? What of the end ? These beat their wings at will, The ill-born things, the good things turned to ill, Powers of the impassioned hours prohibited. Aye, clench the casket now ! Whither they go Thou mayest not dare to think, nor canst thou know If Hope still pent there be alive or dead. Crayons. 1 869. (S. 191.) Size 39|by 28f Lent by T. Eustace Smith, Esq., M.P. No. 79 FLEURS DE MARIE. Sometimes called " The Gardener's Daughter." Girl placing a blue vase filled with marsh marigolds on a mantelshelf. |-length; black hood on head ; face, | profile to r. Black kitten playing with a ball of worsted on chair before fireplace. Oil. 1874. (S. 231.) Size, 44i by 28. Lent by Wm. Graham, Esq. No. 80 LADY WITH A FAN. I life-size figure. | face to r. In white dress, and holding a feather fan in left hand. White scroll in upper I.e., amidst trailing convolvuli. Inscribed on scroll, "D.G.R. (in monogram) 1870." Crayons. 1 870. (S. 211.) Size, 37| by 28f. Lent by Constantine A. lonides, Esq. No. 81 PROSERPINA. This subject was repeated several times by the artist in crayon, water-colour, and oil. No. 8 1 is the original drawing. This was followed by a picture on a larger scale, and in oil (now at the Royal Academy) and the latter, with material variations, by No. 86 ; by a water-colour (smaller; in i88o ; and by No. 92 to which the finishing touches were applied at Birchington-on-Sea, not many weeks before the artist's death. " Proserpina " in upper I.e. Monogram and date in upper r.c. Crayons. 1871. (S. 291.) Size, 39i by I9i. Lent by Mrs. Wni. Morris. No. 82 SIBYLLA PALMIFERA. The finished study for the oil picture. Monogram in lower I.e. The following Sonnet was written on the subject and will be found amongst the printed Poems, p. 270 : — SIBYLLA PALMIFERA. Under the arch of Life, where love and death, Terror and mystery, guard her shrine, I saw Beauty enthroned ; and though her gaze struck awe, I drew it in as simply as my breath. Hers are the eyes which, over and beneath, The sky and sea bend on thee, — which can draw. By sea or sky or woman, to one law. The altotted bondman of her palm and wreath. This is that Lady Beauty, in whose praise Thy voice and hand shake still, — long known to thee By flying hair, and fluttering hem, — The beat Following her daily of thy heart and feet, How passionately and irretrievably. In what fond flight, how many ways and days. Crayons. 1864. (S. 132.) Size, 35 by 28. Lent by Mrs. R. Valpy 39 No. 83 BEATA BEATRIX. A replica (with predella added) of the original picture belonging to Lord Mount Temple, Both are occasionally spoken of as " The Dying Beatrice," but the title is not that chosen by the Artist. The following extract from a letter by the latter himself forms the best explanation {^^'ide S.,p. 183) : — " The picture illustrates the Vita Xuova, embodying symbollically the Death of Beatrice as treated in that work. The picture is not intended at all to represent Death, but to render it under the semblance of a trance, in which Beatrice, seated at a balcony overlooking the city, is suddenly rapt from earth to heaven. " You will remember how Dante dwells on the desolation of the city in connection with the incident of her death, and for this reason I have introduced it as my back- ground, and made the figures of Dante and Love passing through the street, and gazing ominously on one another, conscious of the event ; while the bird, a messenger of death, drops the poppy between the hands of Beatrice. She, through her shut lids, is conscious of a new world, as expressed in the last words of the Vita Niiova. ' Quella beata Beatrice che gloriosamente mira nella fascia die calui qui est per ovinia scecula benedictus^ " The subject of the predella is that of the meeting of Dante and Beatrice in Paradise. Besides these two, are damsels playing lutes and citherns, and behind Dante eight white doves hovering in circular flight. Monogram and date in lower r.c. of main picture. Inscribed above on frame, " Jun. Die. 9, anno 1290. Quomodo sedet sola civitas"; on the bar dividing picture and predella, " Beata Beatrix " ; and on the base of the frame, "Mart. Die 31. Anno 1300. Veni, Sponsa, De Libano." Oil. 1872. (S. 217.) Size, picture 33J by 26. Predella 9§ by 26. Lent by Wm. Graham^ Esq. No. 84 A STUDY FOR THE BLESSED DAMOZEL. Head and neck in red chalk. Accessories unfinished. Face | profile to r. Palm- branch in 1. hand. Crayons. 1875. (S. 248,) Size,'33 by 28. Lent by Wm, Graham, Esq. 40 No. 85 DANTE'S DREAM. Version of the design painted in water colour (No. 32) in 1855, and again, on a large scale, in oil, in 1870. To this picture is added a double predella, which neither of the former have. Subject (1. compartment) — Dante on his couch, dreaming his vision of Beatrice dead ; and (r. compartment) ladies coming hurriedly into the room, startled by his sudden cry of anguish. The rest of the picture is practically a replica of that painted in 1 870, now in the Royal Academy. See introduction, pages 8 and 9. Inscribed "Dante's Dream on the day of the death of Beatrice" (followed by the verse quoted on p. 9 with variations as printed in " Dante and his Circle.") Under the 1. predella are the words, "Dante being sick, and crying out in a dream of his lady's death, is mourned over by his near kinswoman, whom other ladies lead thence by reason of her grief, and awaken him." Under the r. predella — " Dante, recalling the incidents of his sorrowful dream, recounts them to the ladies who have awakened him ; whereto his grieving kinswoman also hearkens apart." Oil. 1878. (S. 287.) Size, 76J by 53. Predellas, each, 32^ by 14. Lent by Wm. Graham, Esq. No. 86 PROSERPINA. See No. 81. On narrow scroll below lamp in lower I.e. "Dante Gabriele Rossetti Rftrasse nel capodanno del, 1877." On scroll in upper r.c. the following sonnet in Italian is inscribed, and on the base of the frame, below title, the English version : — PROSERPINA. Lungi h la luce che in su questo muro Rifrange appena, un breve istante scorta Del rio palazzo alia soprana porta. Lungi quel fiori d' Enna, o lido oscuro Dal frutto tuo fatal che omai m'^ duro Lungi quel cielo dal tartareo manto Che qui mi cuopre : e lungi ahi lungi ahi quanto Le notti che sarkn dai dl che furo. Lungi da me mi sento ; e ognor sognando Cerco e ricerco, e resto ascoltatrice ; E qualche cuore a qualche anima dice, (Di cui mi giunge il suon da quando in quando, Continuamente insieme sospirando,) — " Oim^ per te, Proserpina infelice ! " 41 PROSERPINA. Afar away the light that brings cold cheer Unto this wall, — one instant and no more Admitted at my distant palace door. Afar the flowers of Enna from this drear Dire fruit, which, tasted once, must thrall me here. Afar those skies from this Tartarean grey That chills me : and afar, how far away, The nights that shall be from the days that were. Afar from mine own self I seem, and wing Strange ways in thought, and listen for a sign : And still some heart unto some soul doth pine, (Whose sounds mine inner sense is fain to bring, Continually together murmuring,) — " Woe's me for thee, unhappy Prosperine." Oil. 1877. (S. 276.) Size, 46J by 22. Lent by IV. A. Turner, Esq. No. 87 THE BLESSED DAMOZEL. Head, bust, and r. hand. Inclined to r. Held in the hand, a three-stemmed lily branch. Robe and background golden. Monogram and date in upper r.c. Oil. 1874. (S. 249.) Size, 19 by 18. Lent by Lord Mount-Temple. No. 88 LA DONNA DELLA FIAMMA. J length. Seated in a balcony recess. Flame in right hand, with spirit therein. Inscribed in upper r.c. "La Donna della Fiamma." "D.G.R. 1870," in lower r.c. Crayons. 1870. (S. 204.) Size, 39I by 29I. Lent by Clarence E. Fry, Esq. 42 No. 89 PENELOPE. I length. Seated in front of her loom, the shuttle in her left hand. Face leaning on right hand. " Penelope " inscribed in upper I.e. Monogram and date in lower r.c. Crayons. 1 869. (S. 88.) Size, 35J by 31. Lent by J as LeatJiart, Esq. No. 90 THE SEA-SPELL. I length. The Siren seated, playing on her lute " shadowed in the apple-tree," crowned with a rose-wreath. Glimpse of the sea beyond lute. The following sonnet was written for the subject and is inscribed on base of the frame : — A SEA-SPELL. Her lute hangs shadowed in the apple-tree, While flashing fingers weave the sweet-strung spell Between its chords ; and as the wild notes swell The sea-bird for those branches leaves the sea. But to what sound her listening ear stoops she .'' What nether-world gulf-whispers doth she hear, In answering echoes from what planisphere. Along the wind, along the estuary ? She sinks into her spell ; and when full soon Her lips move and she soars unto her song. What creatures of the midmost main shall throng In furrowed surf clouds to the summoning rune ; Till he, the fated mariner, hears her cry, And up her rock, bare-breasted, comes to die ! " D. G. Rossetti, 1877," in lower I.e. Oil. 1877. (S. 273.) Size, 42J by 35. Lent by Frederick R. Leyland, Esq. 43 No. 91 MARY MAGDALENE. ^ length, I face to r. A coronal of the black hellebore behind. In 1. hand a globular golden vessel containing spikenhard. Part of a Latin inscription circling the latter — " haec pedes meos." Monogram and date in lower I.e. Oil. 1877. Size, 30 by 25J. Leni by Edzvard Lloyd, Esq. No. 92 PROSERPINA. Small |-length replica. The sonnet (English version) before quoted, inscribed on scroll in upper r.c. Inscribed "Dante Gabriele Rossetti, 1882," on narrow scroll in lower I.e. Oil. 1882. (S 315.) Size, 3oiby 15. Lettt by Leonard R. Valpy, Esq. No. 92a THE RETURN OF TIBULLUS TO DELIA. Delia seated on couch with distaff in hand to 1., aged woman singing to her. TibuUus enters at door to r. followed by slave girl holding his hand with her right hand, and raising curtain with the other ; a black slave lies across the door. Monogram and date in lower I.e. Title inscribed on frame above ; below — At tu casta, precor, maneas; sanctique pudoris Adsideat custos sedula semper anus, Hasc tibi fabellas referat, positaque lucerna, Deducat plena stamina longa colo. Tunc veniam subito, nequisquam nuntiet ante, Sed videar caslo missus adesse tibi, Tunc mihi qualis eris, longos turbata capillos, Obvia nudato, Delia, curre pede. Live chaste, dear love; and while I'm far away, Be some old dame thy guardian night and day. She'll sing thee songs, and, when the lamp is lit, Ply the full rock and draw long threads from it. So, unannounced, shall I come suddenly. As 'twere a presence sent from heaven to thee. Then, as thou art, all long and loose thy hair. Run to me, Delia, run with thy feet bare ! — Tibiil. Eleg. 11. Water Colour. 1867. (S. 161.) Size, 18^ by 22J. Lent by Frederick Craven, Esq. F 2 44 No. 93 JOAN OF ARC. Kissing the sword of deliverance. Inscribed " Jehane la Pucelle " in upper I.e. Monogram and date in upper r.c. Oil. 1882. (S. 316.) Size, 20^ by 18. Lent by Leonard R. Valpy, Esq. No. 94 BRUNA BRUNELLESCHI. The Artist's last original Water Colour. Female head turned to 1. Warm brown hair, blue dress, and green background. Title inscribed in upper I.e. Monogram and date in upper r.c. Water Colour. 1878. (S. 290.) Size, 13^ by 12. Lent by Chas. W. Mills, Esq. No. 95 BLANZI FIORI. Head turned to r. Snowdrops in r. hand. Primroses in hair. Oil. (Size, 15J by I2f. Le7tt by Mrs. Toy n bee. ON SCREENS. No. 96 "THE FIRST ANNIVERSARY OF THE DEATH OF BEATRICE." Dante disturbed by visitors while painting the head of an angel. Inscribed above, in upper r.c, "Dante G. Rossetti to his P.-R. Brother, John E. Millais." Immediately above design, " Florence, 9th June, 1291 " (and title). Signed in lower I.e. "Dante G. Rossetti, P.R.B., 1849." Below the design the account from the Vita Nnova. Pen and Ink. 1849. Size, 151 by I2f. Lent by J. Everett Millais, Esq., R.A. 45 No. 97 DANTE G. ROSSETTI SITTING FOR HIS PORTRAIT TO MISS SIDDALL. Rough sketch. Partly caricature. Inscribed " Sept. 1853. D.G.R." in lower r.c. Pen and Ink wash. 1853. (S. 22.) Size, 4^ by 6|. Lent by Wm. Bell Scott, Esq. No. 98 THE ARTIST'S WIFE STANDING BEFORE A PICTURE ON AN EASEL Blackfriars Bridge and Thames seen through the window. Inscribed " D.G.R. (in monogram) Blackfriars " in lower I.e. Pencil. Circa 1861. (S. 386.) Size, I2jby7i Lent by H. T. Wells, Esq., R.A. No. 99 " GENEVIEVE." Title inscribed in lower I.e. " G.C.D.R. (in monogram) August, 1848," in lower r.c. She leaned against the armed man. The statue of the anned knight, She stood and hstened to my lay Amid the lingering light. .5". T. Coleridge. — " Love." Pen and Ink. 1848. Size, loj by 5J. Lent by Coventry Patmot'e, Esq. No. 100 HEAD OF A LITTLE GIRL. I face to 1. Bonnet on head. A study^ Pencil. Circa 1856. (S. 359.) Size, 7* by 6i. Lent by George P. Boyce, Esq. No. 101 GRETCHEN IN THE CHAPEL. Gretchen stoops over a bench, with Mephistopheles whispering at her r. side. Other figures beyond and in front. A sword lying in foreground, flame proceeding from its point towards Gretchen ; scroll round the sword with dies irae written thereon. Inscribed in lower 1. c. Gabriel Charles Dante Rossetti in monogram, and "July, 1848." Pen and Ink. 1848. Size, io| by 8^. Lent by J. A, R. Mufuv, Esq. 46 No. 102 TWO DESIGNS IN ONE FRAME. The upper was to be called " Era Angelico Painting." The lower, " Giorgione painting from a model." Pen and Ink. Circa 1853. (S. 27 and 32.) Sizes, respectively, 6| by 4|; 4| by 6f. Lent by Ford Madox Brown, Esq. No. 103 DEATH OF LADY MACBETH. Photograph from the pencil drawing (1874). Title inscribed in lower I.e. "It will be remembered that the actual death of the guilty Queen takes place during the fifth scene of the last act in Shakespeare's tragedy ; but it is not this event that is represented by Rossetti, but her dying as say shadowed forth at the close of Scene II." (S., p. 212-3.) Photograph. Drawn circa 1874. (S. 244.) Size, 81 by 11^. Lent by William Sharp, Esq. No. 104 PORTRAITS OF MRS. ROSSETTI, Sen., and of DANTE GABRIEL, WILLIAM M. ROSSETTI, and CHRISTINA G. ROSSETTI. In a group, taken in garden at back of the Artist's house in Cheyne Walk. Photograph. Lent by H. Virtue Tebbs, Esq. No. 105 SKETCH OF THE ARTIST'S MOTHER. Head and shoulders, | face to 1. Inscribed " G. R." (in monogram) and " April 28/53." Pen and Ink. 1853. Size, 5| by 4|. Lent by Mrs. Rossetti, Sen. No. 106 PORTRAIT OF THE ARTIST'S MOTHER. Face nearly profile to 1. Inscribed "Feby/62 " in lower I.e. Black and Red Chalk. 1862. Size, 13 by 9|. Lent by W. M. Rossetti, Esq. 47 No. 107 PORTRAIT STUDY OF THE ARTIST HIMSELF. I face to 1.; long hair. Inscribed " March, 1847," in lower r.c. Pencil and White Chalk. 1847. (S. 3.) Size, 7 1 by 6|-. Lent by Miss Polidori. No. 108 STUDY. Study for the " Delia " in the Water Colour drawing " TibuUus' Return to Delia," painted in 1866. See 92A. Pencil. Circa 1866. (S. 361.) Size, 16J by 5|by I2|. Lent by George P. Boyce, Esq. No. 109 ^ LITTLE GIRL DANCING. A study. Pencil and Black Chalk. Circa 185 1. (S. 362.) Size, 2i| by 12^. Lent by George P. Boyce, Esq. No. 110 SIGNOR GABRIELE ROSSETTL » Seated before a reading table. Inscribed " D.G.R., April 28/53 " i^i lower l.h. Pencil. 1853. (S. 20.) Size, lof by 8J. Lent by Mrs. Rossetti, Sen. No. Ill MISS E. SIDDALL. Seated on a chair at window. Inscribed on drawing in lower I.e., " Hastings June, 1854." Pen and Ink and Pencil. 1854. , Letit by F. S. Ellis, Esq. 48 No. 112 PORTRAIT OF WM. M. ROSSETTI. Bust. Face profile to 1. " G. R." in monogram. Pencil. 1846. Size, loj by 8|. Lent by Mrs. Rossetti, Sen. No. 113 PORTRAIT OF FORD MADOX BROWN. I face to 1. Inscribed " D. G. R. (in monogram), Nov. '52." Pencil. 1852. (S. 19.) Size, 6| by 4|. LeJit by William M. Rossetti, Esq. No. 114 PORTRAIT OF FORD MADOX BROWN. I face to r. Inscribed in monogram, "D. G. R. to E. I. C, Jan., 1867." Pencil. 1867. (S. 19.) Size, in circle, loj diameter. Lent by Win. M. Rossetti, Esq. No. 115 DESIGN FOR THE SONNET. First Engraver's Proof. Frontispiece to Mr. Sharp's volume. Pen and Ink (in original). 1880. (S. 312.) Size, 3I by 6. Lent by William Sharp, Esq. No. 116 SHEET OF SIX STUDIES. Studies for " You should have wept her yesterday." Vide Priiice's Progress, by Christina Rossetti. Pen and Ink. 1865-6. (S. 149.) Size, 21^ by 16. Lent by J. Andersoji Rose, Esq. 49 No. 117 ASTARTE SYRIACA. Finished Study for the Picture. | figure. Full face. Monogram in lower I.e. and date in lower r.c. Pen and Ink. 1875. (S. 254.) Size, 12 by 6|. Lent by Clarence E. Fry, Esq. No. 118 A LITTLE GIRL WHEELING BABY IN A TRUNDLE. Signed " Coventry, July, /53." Sketch. Pen and Ink. 1853. (S. 380.) Size, 8 by 6|- Lent by George P. Boyce, Esq. No. 119 PORTRAIT OF MISS E. SIDDALL. Seated in a chair, reading. Inscribed "Hastings, June 2 — 1854." Pencil. 1854. Size, 9 by 7^. Lent by F. S. Ellis, Esq. No. 120 SKETCH OF ALFRED TENNYSON READING " MAUD." This sketch was taken during the reading of the poem at the house of Mr. Robert Browning on the 27th September, 1855. Inscribed " I hate the dreadful hollow behind the little wood." Pen and Ink. (27 Sept.) 1855. (S. 39.) Size, 7J by 4i. Lent by Robert Browning, Esq. 50 No. 121 ANOTHER SKETCH OF THE SAME SUBJECT. Probably made by the Artist on returning home. Inscribed in lower r.c. "Maud, 1855." Pen and Ink, 1855. Size, 8 by 6. Lent by Cosmo Monkhouse, Es(j. No 122 DESIGN FOR THE TITLE-PAGE OF MISS CHRISTINA ROSSETTI'S "THE PRINCE'S PROGRESS; AND OTHER POEMS." In four phases. Two studies, Pen and Ink. A photograph from the drawing on the wood block ; and a proof impression. Pen and Ink. 1862. (S. 148.) Size, various. Le7it by J. Andersofi Rose, Esq. No. 122a ROSA triplex. Photograph from the Crayon design, circa 1869, supposed to be lost. Photograph. Circa 1869. (S. 192.) Size, 6| by 8|. Lent by Crawford J. Pocock, Esq. No. 123 HEAD OF A GIRL ("ADA"). Face turned slightly to 1. Hair falling upon the shoulders. Pencil. Circa 1865. (S. 365.) Size, 14 by III. Lent by Geo. P. Boyce, Esq. No. 124 study OF TWO GIRLS DANCING. Study for two figures introduced into a very early Oil Colour landscape painted from nature. Inscribed in lower l.h.c. " for G.P.B." Figures about 14^ inches high. Crayons. Circa 1848. (S. 377.) Size, I9i by 20^. Lent by George P. Boyce, Esq. No. 125 HEAD OF A FAIR-HAIRED GIRL. Face, nearly profile, turned to 1. Earring in r. ear. Hair falling on r. shoulder. Pencil. Circa 1865. (S. 374.) Size, Hi by \\\. Lent by George P. Boyce, Esq. No. 126 MEDALLION PORTRAIT OF ROSSETTI. ^TAT 18. Inscribed on 1. circle " Dante Gabriel Charles Rossetti," and on lower r.c, "John Hancock, Sc, sketched Oct., 1846." Plaster. 1846. Lent by Mrs. Rossetti, Sen. IN THE WRITING ROOM. No. 127 HEAD OF A LITTLE MULATTO GIRL. I face upturned to 1. Study for a figure in the picture of " The Beloved." Pencil and Black Chalk. 1864. (S. 373.) Size, 20 by 14. Lent by George P. Boyce, Esq. No. 128 STUDY FOR "THE BLUE BOWER." Musical Instrument. Head and hands. Face slightly to 1. Pencil and Black Chalk. Circa 1863. (S- 375.) Size, 22|- by i8|-. Lent by George P. Boyce, Esq. G 2 52 No. 129 STUDY FOR THE BRIDE IN " THE BELOVED " PICTURE. Head (full face) and hands in Red Chalk. Drapery in Black. Crayons. 1 864. (S. 370.) Size, 20 by 14^ Lent by George P. Boyce, Esq. No. 130 STUDY OF A GIRL'S HEAD FOR "THE BLUE BOWER." I face turned to 1. Black Chalk and Pencil. Circa 1863. (S. 376.) Size, 20 by 14. Lent by George P. Boyce, Esq. No. 131 STUDY OF A NEGRO BOY FOR "THE BELOVED" PICTURE. Bust. Head upturned to 1. Holding a golden cup. Black Chalk and Pencil, 1863. (S. 372.) Size, iSJby 13J. Lent by George P. Boyce, Esq. No. 132 SIBYLLA PALMIFERA. First finished study for the oil of 1865-6. Crayons. 1 864. (S. 132.) Size, 24f by 19J. Lent by A. S. Stevenson, Esq. No. 133 PERLASCURA. Face, in profile, to 1. Monogram and date. Crayons. 1 87 1. (S. 286.) Size, 22f by i7|. Lent by Mrs. Wm. Morris. 53 No. 134 PORTRAIT OF JOHN RUSKIN. Face, nearly full, to 1. Monogram and date. Red chalk. i86i. (S. 351.) Size, 19 by 13J. Lent by Crawford J . Pocock, Escj. No. 135 PORTRAIT STUDY. Face in profile to r. Monogram and date. Black and Red Chalk. i^74- (S. 236.) Size, 22 J by 17^ Lent by H. Virtue Tebbs, Esq. No. 136 STUDY OF A HEAD. I inclined downwards to r. Red Chalk. 1 868. (S. 189.) Size, 20 by 16. Lent by Frederick R. Leyland, Esq. No. 136a MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE. For account of this picture see No. 33a, and Mr. Sharp's vol. pp. 163-7. Oil. (S. 66.) Size, 24 by 24. Lent by J. Keir, Esq. No. 137 PORTRAIT OF MRS. FORD MADOX BROWN. Lent by Francis Hneffer, Esq. Pencil. i860. Size, iij by lof. No. 138 PORTRAIT OF MRS. LEATHART. Study for the Oil Picture. (S. 108.) Pencil. Circa 1862. Size, I2| by 10 J. Lent by Wm. Bell Scott, Esq. No. 139 PORTRAIT OF THEODORE WATTS. Crayons. 1874. (S. 233.) Size, 20 by 15. Lent by W. Theodore Watts, Esq. 54 No. 140 PORTRAIT OF DR. GORDON HAKE. Crayons. 1872. (S. 223.) Size, 1 7^ by I if. Lent by Dr. Gordon Hake. No. 141 HEAD OF A GIRL. I face to 1. Pencil. Circa 1870. (S. 210) Size, 9J by 8. Lent by Constantine A. Lonides, Esq. No 142 LA GITANA. Crayon Size, 25 by igf. Lent by Henry Ellis, Esq. No. 143 DANTE MEETING BEATRICE IN PARADISE. See No. 20, 23. Inscribed " Guardami ben ; ben son, ben son Beatrice," in lower I.e., and monogram and date in lower r.c. Water Colour. 1864. (S. 124.) Size, ii| by gf. Lent by Wm. Graham, Esq. No. 144 "LA BIONDA DELL' BALCONE." Replica (practically) of the " Bocca Baciata," in oil, of 1859 (S- 6g). Water Colour 1868. (S. 330.) Size, 18 by 15. Lent by W. Bowman, Esq. No. 145 GIRL BITING A ROSEBUD. Study for the " Belcolore " Oil Picture, No. 45. Red Chalk. Circa 1863. Size, 9f by 8i Lent by J. Anderson Rose, Esq. No. 145a " KING RENE'S HONEYMOON." Design for a stained glass window. Title inscribed in lower I.e. Monogram and date in lower r.c. Indian Ink. 1862. (S. 331.) Size, 17 by 13!. Lent by A. S. Stevenson, Esq. 55 No. 146 . STUDY FOR DANTE'S DREAM. Study for the central portion of the picture. Crayons. Circa 1875. (S. 260.) Size, 22^ by i8|. Lent by Mrs. Toynbee. No. 147 A CHRISTMAS CAROL. Finished study for No. 52. Crayons. 1867. (S. 168.) Size, \l\ by l^\. Lent by Mrs. Aglaia Coronio. No. 148 STUDY FOR LADY IN " DANTE'S DREAM.," Full length figure of lady holding veil. Face to 1. Crayons. 1874. (S. 259.) Size, 321 by i6^ Lent by Mrs. Toynbee. No. 149 STUDY FOR LADY IN "DANTE'S DREAM." As above. Face to r. Crayons. 1873. (8,227.) Size, 36 by 17^. Lent by Leonard R. Valpy, Esq. No. 150 BEATA BEATRIX. A replica of the original oil of 1863. Compare Nos. 'jy and 83. Water Colour. 1871. (S. 216.) Size, 28J by 2 1 J. Letit by Frederick Craven, Esq. 56 ON STAIR OUTSIDE GALLERY. No. 151 PORTRAIT OF MRS. WM. MORRIS. I length seated figure. Inscribed on scroll in upper I.e., " J.M. 1868, D.G.R. del." Finished study for No. 53. Crayons. 1868. (S. 184.) Size, 31 by 23. Lent by Constantine A. lonides, Esq. No. 152 ROSSETTI'S STUDIO. (By H. H. Gilchrist). Lent by H. H. Gilchrist, Esq. IN THE SMOKING ROOM. No. 153 PANDORA. Monogram and date in lower I.e. Different in treatment from No. 78. Has the sonnet inscribed on frame. Crayons. 1879. (S. 276.) Size, 38 by 24^. Lent by W. Theodore Watts, Esq. GETTY RESEARCH INSTITUTE 3 3125 01096 0967