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Anna Jameson and D. G. Rossetti: His Use of Her HistoriesAuthor(s): David A. LudleySource: Woman's Art Journal, Vol. 12, No. 2 (Autumn, 1991 - Winter, 1992), pp. 29-33Published by: Woman's Art Inc.Stable URL: http://www.jstor.org/stable/1358280Accessed: 25-04-2016 17:36 UTC

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I ISUS ND NSGH S

ANNA JAMESON

AND

D.G. ROSSETTI His Use of Her Histories

By David A. Ludley

hat the substantive influence of Anna Jameson (1794-1860) on Dante

Gabriel Rossetti (1828-82) has not been recognized may be in part due to John Ruskin, who compared this rival writer on "old art" to, among other things, his father's uneducated serving girl.' A century later, John Steegman referred to Jameson as "rather a compiler than a thinker, perhaps;...she was a woman of wide experience and immense industry in her field, whose labours still bear fruit...[a] most important link between old and new criti-

cism."' Jameson continues to be reassessed, but nowhere has the influence of Jameson on Rossetti and the Pre-Raphaelite move- ment been significantly explored or documented." That influence

was substantial, and it is demonstrable through an examination of Rossetti's works alongside Jameson's texts.

In an 1853 letter to Pre-Raphaelite sculptor Thomas Wool- ner, Rossetti wrote of a "Dantesque sketch" on a theme he employed often-Giotto painting the portrait of Dante; Rossetti further noted, however, that this sketch was "treated quite dif- ferently from anything you have seen."4 This small pen-and-ink sketch ("Study for Giotto Painting the Portrait of Dante" [1852]; Tate Gallery) depicts four male figures on a scaffolding; their identities may be inferred from the passages quoted below the composition-six lines of verse from Dante's Purgatorio, Canto XI, lines 93-98, followed by two lines from a sonnet in Dante's Vita Nuova:

'Credete Cimabue nella pintura Tenor lo campo; ed ora ha Giotto il grido,

Si che lafama di colui s'oscura. Cosi ha tulto l'uno all'altro Guido

La gloria della linga; e forse e nato Chi l'uno e l'altro cacciera di nido.'

Vede perfettamente agni salute Chi la mia donna--tra le donne-rede.5

The first three lines expressed Dante's admiration for Giotto, who "has the cry" and whose fame would "dim" even Cimabue's. Significantly, these same three lines were used by Anna Jameson, who was one of the 19th century's most widely read art critics, to preface her discussion of Giotto in Memoirs of the Early Italian Painters. Rossetti was quite familiar with this study, which was originally published in 1845 in two volumes. Jameson's consideration of Giotto well complements Rossetti's. How he must have relished reading these lines:

Open any common history, not intended for the very profound, and there we still find Cimabue "lording it over painting's field," and placed at the head of a revolution in art, with which, as an artist, he had little or nothing to do.... [Rather,] we owe Giotto, than whom no single human being of whom we read has exercised, in any particular department of science or art, a

more immediate, wide, and last- ing influence."

Jameson's Memoirs was but one of several books she wrote, and Rossetti's strong interest is evident in the marginalia found in his copies.' For example, his annotated copy of Jameson's Sacred and Legendary Art (1848), which he kept in his studio, documents Rossetti's rather intense

agreement with Jameson's disap- proval of Rubens, albeit on a far less aesthetic plane. Whenever the name of Rubens appears in Jameson's text, Rossetti wrote, "Spit Here."8 In Jameson's Commonplace Book of Thoughts, Memories, and Fancies (1855), Rossetti found further support for his revulsion against Rubens, a disaffection learned from Blake.

Jameson conjures up a starkly contrasting vision of the "material- ism" of Michelangelo versus that of Rubens:

In the first, the predominance ofform attains almost a moral sub- limity. In the latter the predominance of flesh and blood is debased into physical grossness.9

All Jameson lacked was a Pre-Raphaelite standard to bear. For Rossetti, her appeal is evident.

Gerardine MacPherson, niece of Jameson and author of the 1878 Memoirs of the Life of Anna Jameson, documents another Rossetti-Jameson connection: both were close friends of Elizabeth Barrett and Robert Browning. In fact, Jameson was the Brownings' frequent traveling companion on their many trips throughout Europe. In Pisa, where the trio spent a full three weeks, Jameson sketched from the masters the drawings that inspired Rossetti when he saw them reproduced in her Sacred and Legendary Art. In August of 1848, Rossetti joined with Millais and Hunt to form the Pre-Raphaelite Brotherhood-after poring over a book of Giovanni Paola Lasinio's engravings after the fresco series at the Campo Santo in Pisa.'o As her niece points out, Jameson paid special attention to this "solemn enclosure of the Campo Santo," pursuing "her study with the minutest care, continually pausing to point out what was most admirable, to explain the sequence of art,...and how the inspiration of a great master was repeated, sometimes in broken lights, through his whole school."" For Jameson, and later for Rossetti, the "great master" was the Florentine painter Benozzo Gozzoli (1420-97).

Throughout the 19th and into the 20th century, most of the Campo Santo frescoes (c. 1350s) were attributed to Gozzoli; however, in 1933 Millard Meiss reattributed them to the Pisan painter Francesco Traini (1321-63)." But, of course, what mat- tered most to the Pre-Raphaelites was the art itself, the "spirit" of "early Christian" art, as this review of the Campo Santo frescoes in their house organ, The Germ, indicates:

A complete refutation of any charge that the character of [the Early Italian] school was necessarily gloomy will be found in the works of Benozzo Gozzoli, as in his "Vineyard" where there are

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some grape-gatherers the most elegant and graceful imaginable; this painter's children are the most natural ever painted."

For Rossetti and his brethren, the great master who adheres "to the simplicity of nature"" is, once again, Gozzoli.

Rossetti hosted dinners and other gath- erings for the Brownings, inviting emi- nences such as Alfred Lord Tennyson, but no critics. Although Tennyson influenced nearly all the Pre-Raphaelites, Rossetti enjoyed a closer personal relationship with Browning. The quality Rossetti most favored in Browning but found lacking in Tennyson was an awareness of early Italian art: "I found his knowledge of early Italian Art beyond that of anyone I ever met,- encyclopaedically beyond that of Ruskin himself."'" For a poet of Browning's ability to possess an "encyclopaedic" knowledge of such painters as Giotto and Fra Lippo

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Fig. 1. D. G. Rossetti, St. Cecilia (1856-57), pen and brown ink, 37/8" x 31/4".

Birmingham City Museum and Art Gallery.

Lippi was to invite immediate Pre- Raphaelite sainthood. Browning's tutor as he visited the sites, viewed the paintings, and absorbed the ambience of "old Italy" was, of course, Anna Jameson.

Sacred and Legendarn Art, however, was probably the source through which Jameson exerted her most noteworthy influence on Rossetti. This becomes obvious as early as 1850 in Ecce Ancilla Dornini (The Annunciation) (Tate Gallery), Rossetti's second completed oil painting. Both Rossetti and William Holman Hunt had sketched from a cast of Ghiberti's north

doors at the Baptistery in Florence. Included on the doors is a rather traditional portrayal of the Annunciation: Mary stands under an arching portal representing the Temple, with Gabriel approaching from without. Having apparently been inter- rupted from her pious reading and medita- tion, the Virgin appears startled.

By contrast, in Ecce Ancilla Domini, the Annunciate Virgin is portrayed at home, sitting on a bed, in a well-appointed room. Here, the angel is within and strides toward the Virgin, who draws back, afraid. This is most unusual. Lacking a holy book, Rossetti's startled Virgin grasps only her nightgown, for she has just been awakened from a dream-perhaps pious.

Rossetti's pubescent Mary appears dis- concertingly real for so sacrosanct a figure and is, in fact, his sister Christina. The naturalistic depictions of the Holy Family by Rossetti and his colleagues did not sit

well with contemporary critics; and placing__ the Blessed Annunciant in a bed was

unheard of, albeit logical. Rossetti's pen- chant for going off "on his own hook," as he called it, created a critical uproar, espe- cially since he even took away her "bed- clothes"-an arrangement justified, in one of his brother's journal entries, by the "hot climate" of Nazareth and the Pre-

Raphaelite adherence to truth within

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Fig. 2. Anna Jameson, after Lucas van Leyden, St. Cecilia (c. 1520). Munich Gallery.

From Sacred and Legendary Art (1848).

0

nature.'" Be that as it may, the scene's implied sexuality distressed the Victorians. Even Ruskin was taken aback

by Rossetti's conception, declaring that it differed "from every, previous conception of the scene" knovwn to him.'

Yet this conception of the scene (lid exist previously in Jameson's Sacred and Legendary Art. Near the end of Part I- "Of Angels and Archangels"--Jameson discusses St. Gabriel. She describes every

Annunciation depiction she can think of, one of which closely matches Rossetti's:

The Virgin seated on the side of her bed sinks back alarmed, almost fainting; the angel in a robe...with a white tunic, stands before her...with a proud commanding air.'"

Jameson provides no illustration of this, identifying it as a "beautiful miniature from the Chants Royales" in the Paris Bibliothbque Nationale." Regardless of the original, Jameson's vivid prose has deft-

ly sown the seed for Rossetti's conception. Although Tennyson certainly influenced the Pre-Raphaelites'

subject matter and provided the "stuff' of Rossetti's dreams, it was

Jameson who helped them coalesce into a vision that would impart a suitably medieval ambience. An example of this can be found in Rossetti's illustrations after Tennyson's "The Palace of Art."

As critic Martin Meisel points out, Rossetti was happy to illus- trate "The Palace of Art" because "it gave him the most 'imaginative freedom'" of any Tennyson subject.2 As Rossetti wrote his friend William Allingham:

The other day Moxon called on me, want- ing me to do some of the blocks for the new Tennyson.... I have not begun even design- ing them yet, but fancy I shall try..."The Palace of Art," etc.,-those where one can allegorize on one's own hook on the subject of the poem, without killing for oneself and everyone, a distinct idea of the Tennyson.2'

Nowhere is Rossetti's imaginative freedom more evident than in his highly, creative rendering of the "St. Cecily" stanza, a description of one of the tapestries in "The Palace of Art":

Or in a clear-wall'd city on the sea, Near gilded organ-pipes, her hair

Wound with white roses, slept Saint Cecily; An angel look'd at her.22

Rossetti's St. Cecilia (1856-57; Fig. 1), if asleep, is a somnambulant dreamer; indeed, she seems in ecstatic rapture, her hands poised and ready) to transform the attendant angel's whisperings into won- drous music for the earthbound creatures.

Jameson's influence is apparent in Rossetti's depiction of St. Cecilia's distinc-


tive coiffure and "rapt expression"; in the organ, with its "quaint" medieval design; and in the angel, with its evenly patterned costume. In Sacred and Legendary Art, Jameson devotes more space to "St. Cecilia, Virgin and Martyr" than to any other "Latin Martyr," and her copy of Lucas van Leyden's St. Cecilia (Fig. 2), is reproduced on page 351. In the text Jameson describes her as "magnificently attired" with "her hair bound with a small jewelled turban." As in the van Leyden

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Fig. 3. Anna Jameson, after Liberale da Verona, Laus Deo (c. 1470). From Sacred and Legendary Art (1848).

copy, Rossetti gave his St. Cecilia very long, wavy hair with a curious bunching effect at the top of the head that carries a shape identical to that of van Leyden's St. Cecilia. However, upon reading Tennyson's poem, we realize that Rossetti's depiction is to be read as hair "wound with white roses" rather than

with any small bejeweled "turban"; nevertheless, the similarity of effect in the two illustrations is striking.

Further, Jameson emphasizes here, as earlier in the text, St. Cecilia's "rapt expression" as she plays the organ."2 Tennyson, on the other hand, places her only "near" the organ-not on the wall but somewhere "in" the "wall'd city," where she "slept." Rossetti has conceived a most odd sleep for his saint: she is depicted as if playing the organ while "rapt," within a trance-a transcendent breakthrough to the spirit world hovering at her shoulder. This conception is more closely attuned to Jameson's text than to Tennyson's poem. Indeed, Tennyson was said to be a "good deal puzzled" by Rossetti's St. Cecilia." Perhaps he had not read Jameson.

Jameson had read Tennyson, however. It is interesting to note, two pages later, Jameson's reference to Tennyson's poem as the only "picture of St. Cecilia sleeping." She continues, light- ly chastising the poet for his binding of St. Cecilia's hair with white roses:

Very Charming!-but the roses brought from paradise should be red and white, symbolical of love and purity, for in paradise the two are inseparable, and purity without love as impossible as love without purity.z"

In Jameson, too, we find a small version of the medieval organ. (In mystical circles St. Cecilia is credited with inventing the organ, "consecrating it to the service of God."'"2) In Jameson's drawing after van Leyden, St. Cecilia plays the instrument with her right hand while pumping the bellows with her left. In Rossetti's version

the organ is too large for such acrobatics, so his bellows hang idle at the back of the instrument. With the organ, therefore, Rossetti has definitely gone off "on his own hook," although he retains Jameson's essential components.

Finally, perhaps the most telling evidence of influence is on the outermost

mantle of the saint's cloak, where Jameson has placed an even pattern of starbursts- tiny circles around which short, straight

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Fig. 4. D. G. Rossetti, "Study for The Bower Meadow" (c. 1871-72), pen and brown ink, 41/21" x 35/8". Ashmolean Museum, Oxford.

WOMAN'S ART JOURNAL FALL 1991/WINTER 1992

lines issue forth."' Rossetti used

Jameson's pattern for his depiction of the angel's mantle in which St. Cecilia is slowly being wrapped. Once again, Jameson provided the material; Rossetti, the imagination.

Rossetti's reliance on

Jameson's recast medievalism is still evident in The Bower

Meadow (1872; Manchester City Art Gallery). By examining stud- ies for this work, we find its gene- sis, once again, in Jameson's Sacred and Legendary Art. Just above the introduction is an illus-

tration entitled "Laus Deo" (Fig. 3), a woodcut after a detail from Liberale da Verona's Laus Deo; Liberale (1455-1529) was of the Early Italian School that both Jameson and the Pre- Raphaelites revered. In this engraving after a Jameson sketch are three winged angels, two of whom sing and play stringed instruments. The center angel may have been singing, but she stands now in peaceful reverie, her lips together, as she gazes down at the sheet of music in her hand. All three have elongat- ed necks and tilt their heads in a "Botticellian" manner.

In Rossetti's earliest study for The Bower Meadow (Fig. 4), there are also three figures, two of whom, however, have no wings-a loss suffered by Gabriel in Rossetti's Ecce Ancilla Domini as well. The center figure remains a winged angel; as with Jameson's sketch, the two outside figures sing and play stringed instruments. Rossetti has changed the instrument on the left figure to a zither; yet, interestingly, the player's arms and hands remain in positions nearly identical to those of the corresponding figure in Jameson's "Laus Deo." In each, the figure on the right plays a lute and the center angel stands peacefully attendant, holding a holy messenger in Rossetti's study-a dove-rather than a holy message of music. Rossetti gives his musicians robes with voluminous folds-drapery as full and cut at the bodice in the same manner as in the Jameson. Only in the manner in which the sleeves of Jameson's angels are gathered half-way between shoulder and elbow is there an appreciable difference.

Lastly, Rossetti parallels Jameson's distinctive "Botticellian" tilt with the heads of his figures. Further, the postures, body positions, and profiles of each figure in Rossetti's study all

reflect the way Jameson (or Liberale) depicted her own angels. Indeed, Rossetti's lute player seems to have been lifted directly from Jameson's work. It is clear from Rossetti's undated pastel study (in the Fitzwilliam Museum), that The Bower Meadow underwent various

stylistic changes before its final manifes- tation. However, Jameson remains the initial source.

Perhaps the most significant evidence of Jameson's influence on Rossetti can be found in one of his illustrations

(c. 1861) after the early Italian poets, which are now part of the Janet Camp Troxell Rossetti Collection, Princeton University Library. Within this collection is the only copy of Rossetti's The Early Italian Poets from Ciullo d'Alcamo to Dante Alighieri (1100-1200-1300) with his


original drawings illustrating the verses of six of the poets. Rossetti intended these illustrations to grace the entire first edition, but his publisher refused, claiming that the cost of reproduction would be higher than profits would allow. Therefore, the Troxell copy is the sole illustrated example.

One of the most striking of these illustrations is the one Rossetti designed for the "Cantica" of St. Francis of Assisi. The

"Cantica" comes very early in Rossetti's vol- ume, near the beginning of "Part I: Poets Chiefly before Dante." Rossetti tells us that the "Cantica" is derived from a long poem "on Divine Love, half ecstatic, half scholastic, and hardly appreciable now." Even so, he points out that the passage "stands well by itself, and is the only one spoken by our Lord."" Rossetti translated Saint Francis's "Cantica" as follows:

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Fig. 5. D. G. Rossetti, "'Cantica' of St. Francis of Assisi" (1861). From The Early Italian

Poets from Ciullo d'Alcamo to Dante Alighieri (1 100-1200-1300). Troxell Rossetti Collection,

Princeton University Library.

Set Love in order, thou that lovest Me. Never was virtue out of order found; And though Ifill thy heart desirously,

By thine own virtue I must keep My ground: When to My love thou dost bring charity,

Even she must come with order girt and gown'd. Look how the trees are bound

To order, bearing fruit; And by one thing compute,

In all things earthly, order's grace or gain.

All earthly things I had the making of Were number'd and were measured then by Me;

And each was order'd to its end by Love, Each kept, through order, clean for ministry.

Charity most of all, when known enough, Is of her very nature orderly. Lo, now! what heat in thee,

Soul, can have bred this rout? Thou putt'st all order out.

Even this love's heat must be its curb and rein."

Rossetti's illustration (Fig. 5) appears on the second of the two pages allotted this poem, just beneath the last six lines. It is a

drawing of an angel swinging a censer, her wings outspread, as she gazes down from on high.

Rossetti scholar Virginia Surtees reproduced these drawings in a brief article for Princeton's Library Chronicle. Near the end of her commentary she notes the uniqueness of Rossetti's angel: Of the numer- ous depictions of angelic figures by Rossetti, this is the only one that does not contain "distinctive or familiar features" such as the

"characteristically drooping lids of his wife Elizabeth Siddal,""30 even though the book is dedicat-

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Fig. 6. Anna Jameson, detail after Albrecht Durer, The Birth of Mary (c. 1503-04). Staatliche Museen Preussischer Kulturbesitz,

Berlin. From Sacred and Legendary Art (1848).

0

ed to her. Surtees, however, did not pause to speculate on the source of such uniqueness.

The reason this angel is so uncharac- teristic of Rossetti's style is that he appro- priated the design from the last page of Jameson's commentary on "The Twelve Apostles" in Sacred and Legendary Art (Fig. 6). The angel swinging a censer is a detail that Jameson copied from Diirer's elaborate woodcut, The Birth of Mary (1503-04; Kupferstich Kabinett SMPK, Berlin), one of 17 from a cycle based on the life of the Virgin. Jameson's copy focuses on the angel at the top of Diirer's woodcut, eliminating the remainder of the scene and altering, in subtle ways, various details from the original. That Rossetti took his conception from Jameson and not the original is clear from

his duplication of Jameson's distinctive alterations; needless to say, it is also indicated by Rossetti's zeroing in on the same part of Diirer's woodcut.

Jameson's most conspicuous alteration of the Diirer is the angel's hair. While the hair of Diirer's angel flies out and upward in masses almost baroque in their complexity of curl, Jameson's angel is more conservatively coiffed-a more closely shorn, wavy coiffure that follows the shape of the head. The hairstyle of Rossetti's angel, while straighter than the others, nevertheless resembles Jameson's version. In fact, the outline of the hair so closely parallels Jameson's depiction that it may even have been a tracing, with Rossetti only filling in a different hair texture. Also, Rossetti's ethereal angel is a far cry from the full- cheeked Valkyrie of Diirer's woodcut. With its lovely eyes and nose, tender mouth and shallow cheeks, Rossetti's angel shows its debt to Jameson, not Diirer.

Another telling difference is apparent in the swinging censer. Diirer depicts the angel holding a ring from which a measure of chain-link travels at least as far as the angel's other hand. Jameson, on the other hand, shows the angel holding a ring on which a knot is tied and from which a long cord or thong passes to and beyond the right hand to the censer. Again, Rossetti duplicates Jameson's change.

Finally, in the Diirer woodcut, the angel's right wing contains ten outermost or "profile" feathers, while the corresponding wing in Jameson's drawing contains only nine. Rossetti, of course, depicts nine as well.:' Although Rossetti's is a some- what simplified version of Jameson's drawing, the only significant difference between the two is his elimination of the

cloud of incense streaming from the censer.

In light of the above, it seems that Surtees errs in

describing Rossetti's angel as being "borne upon billowing clouds."'32 Since Rossetti's illus-

tration does not appropriate even the streaming cloud of


incense from the works by Jameson and Diirer, Surtees must be referring to the lower, billowing mass of the angel's garment. Not having the benefit of the more detailed source of this work, Surtees has mistaken the voluminous shapes of the lower robe for clouds.

If Ruskin had known the extent to which Rossetti depended on Jameson, he might well have been appalled. For Ruskin pos- sessed a volatile, competitive intellect; his demeanor was not that of a humble man, nor were his opinions markedly fair. So, when he heard that Jameson was encroaching on his territory-"writ- ing something about old art"-Ruskin wrote his father that Jameson knew "as much about art as the cat" and compared her to his father's uneducated servant."

Ruskin's letters, particularly those to Rossetti, reveal the critic to be hypersensitive and not immune to petty jealousies. Rossetti, in turn, once wrote: "I do not call John Ruskin's work criticism, but rather brilliant poetic rhapsody."" Nevertheless, both Ruskin and Jameson provided key inspiration for Rossetti's art.

Anna Jameson's importance as an interpreter of "old art" to her contemporaries has been acknowledged. The specific influence she had on Rossetti and the Pre-Raphaelites has now been established. From MacPherson's Memoirs we learn that

Jameson spent the last few months of her life, late in 1859, in the Print Room of the British Museum.5 Since the Print Room at that time was also Rossetti's perennial haunt, it is easy to imagine them nodding cordially to one another as they perused repro- ductions after the early Italian masters.*

NOTES

This study is based, in part, on my doctoral dissertation for Emory University. Further research was supported by Katharine Bleckley Scholar awards from the English-Speaking Union, Atlanta.

1. Ruskin to his father, September 28, 1845, in Harold I. Shapiro, ed., Ruskin in Italy: Letters to His Parents 1845 (Oxford: Clarendon, 1972), 215.

2. John Steegman, Consort of Taste, 1830-1870 (London: Sidgwick and Jackson, 1950), 187. For more recent considerations of Jameson, see Clara Thomas, "Anna Jameson: Art Historian and Critic," WAJ (S/S 1980), 20-22,

and Adele Holcomb, "Anna Jameson on Women Artists," WAJ (F 1987/W 1988), 15-23.

3. In "Dante Rossetti's Beata Beatrix and the New Life," Art Bulletin (October 1975), 549, a link between Rossetti and Jameson is noted by Ronald W. Johnson, the only other author to do so. Johnson notes that the

Dalziel brothers, who made the engravings for Rossetti's St. Cecilia, also engraved for Jameson's Sacred and Legendary Art. However, my analysis is

based on Rossetti's original drawing (Fig. 1) and not on the engraved version, which differs slightly from the original.

4. Rossetti to Woolner, January 1, 1853, from Oswald Doughty and J. R. Wahl, eds., Letters of Dante Gabriel Rossetti, I (Oxford: Oxford University, 1965), 123.

5. Rossetti apparently turned to the Rev. H. F. Cary's bilingual edition of The Vision; or Hell, Purgatory, and Paradise of Dante Alighieri (London, 1845). Here is Cary's translation:

...Cimabue thought To lord it over painting's field; and now

The cry is Giotto's, and from his name eclipsed. Thus hath one Guido from the other snatch'd The letter'd prize: and he, perhaps, is born,

Who shall drive either from their nest.

(Cary, Purgatory XI, lines 94-99).

6. Anna Jameson, Memoirs of the Early Italian Painters (Cambridge, Eng.: Riverside Press, n.d.; orig. pub. in 1845), 25.

7. Quentin Bell, "The Pre-Raphaelites and their Critics," in Leslie Parris, ed., Pre- Raphaelite Papers (London: Tate Gallery, 1984), 11.

8. Ibid.

9. Anna Jameson, A Commonplace Book of Thoughts, Memories, and Fancies (New York: D. Appleton, 1855), 289.

10. Lasinio's folio of engravings, "after the frescoes by Giotto, Benozzo Gozzoli, Orcagna and others," was published in Florence in 1832.

11. Gerardine MacPherson, Memoirs of the Life of Anna Jameson, with a Portrait (Boston: Roberts Brothers, 1878), 233.

12. Millard Meiss, "The Problem of Francesco Traini," Art Bulletin

(June 1933), 97.

13. William Michael Rossetti, ed., The Germ: Thoughts Towards Nature in Poetry, Literature and Art, II (February 1850), 61-62.

14. Ibid., back cover.

15. Rossetti to William Allingham, November 25, 1855, from Doughty and Wahl, Letters, I, 280.

16. William Michael Rossetti, November 25, 1849, entry, "The P. R. B. Journal, 1849-53," in Pre-Raphaelite Diaries and Letters (London: Hurst and Blackett, 1900; reprint, New York: A.M.S. Press, 1974), 235.

17. William Sharp, Dante Gabriel Rossetti: A Record and a Study (London, 1882; reprint, New York: A.M.S. Press, 1970), 130-31.

18. Anna Jameson, Sacred and Legendary Art (London: Longman, Brown, Green, and Longmans, 1850; first published in 1848 in two vols.), 75.

19. Ibid.

20. Martin Meisel, "Half Sick of Shadows," in U. C. Knoepflmacher and G. B. Tennyson, eds., Nature and the Victorian Imagination (Berkeley: University of California, 1977), 338.

21. Rossetti to Allingham, January 23, 1855, from Doughty and Wahl, Letters, I, 239.

22. Alfred Lord Tennyson, "The Palace of Art," lines 97-100, in Walter E. Houghton and G. Robert Stange, eds., Victorian Poetry and Poetics (Boston: Houghton Mifflin, 1968), 22.

23. Jameson, Sacred and Legendary Art, 345, 351.

24. H. C. Marillier, Dante Gabriel Rossetti (London: George Bell, 1899), 75.

25. Jameson, Sacred and Legendary Art, 353. 26. Ibid., 345.

27. As Johnson notes in "Dante Rossetti's Beata Beatrix," the Dalziel brothers engraved for both Rossetti and Jameson. This could suggest that the engravers, perhaps Edward Dalziel, were responsible for the two works'

shared details-the starburst pattern, for example. However, Rossetti's original drawing contains this pattern as well as other common elements, so

it is obvious that the appropriations were Rossetti's and not the Dalziels'.

28. D. G. Rossetti, trans., The Early Italian Poets from Ciullo d'Alcamo to Dante Alighieri (1100-1200-1300) (London: Smith, Elder, 1861), 17.

29. Ibid., 17-18.

30. Virginia Surtees, "The Early Italian Poets by D. G. Rossetti with His Illustrations," Princeton University Library Chronicle (Spring 1972), 230-32.

31. In "Early German Sources for Pre-Raphaelite Designs," Art Quarterly (Spring/Summer 1973), 56, John Christian discusses Diirer's influence on Rossetti. He, too, discovered the sketch resembling Diirer's "censing angel" in the Troxell collection's copy of Rossetti's Early Italian Poets (58-59). However, he makes no mention of Jameson's work.

32. Surtees, "Early Italian Poets," 231. 33. Ruskin to his father, September 28, 1845, from Shapiro, Ruskin in

Italy, 215-16.

34. Rossetti to Ford Madox Brown, January 19, 1873, from George Birkbeth Hill, ed., Letters of Dante Gabriel Rossetti to William Allingham 1854-1870 (London: T. Fisher Unwin, 1897), 271-72.

35. MacPherson, Memoirs, 305-06.

David A. Ludley is Associate Professor of English and Art at Clayton State College, Morrow, Georgia.

WOMAN'S ART JOURNAL FALL 1991/WINTER 1992


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