| CHAPTER I. | |
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| The Preparation for Reform in Art. | |
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| PAGE |
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| Constable prophecies the Decay of English Art—The New Impulse from Italy—The English Renaissance of 1850—Rossetti and the Specialistic Temperament—Classicism of the Eighteenth Century—Influence of the French Revolution—Revival of Romance—Contrast between MediÆval and Modern Romance—Pessimism in Pre-Raphaelite Painting—Nature as a Background—Moral Significance of the Change | 1 |
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| CHAPTER II. | |
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| The Renaissance of the Nineteenth Century. | |
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| Childhood of Rossetti—Religious and Literary Influences—Art Training—Conflict between Imagination and Technique—Friendship with Millais and Holman Hunt—The Westminster Hall Competitions—Ford Madox Brown—Influence of Ruskin’s “Modern Painters”—The Early Italian Masters—The Renaissance in MediÆval Europe—Relation of Paganism to Christianity—Revival of Hellenism, and blending of Classic with Romantic Art—Growth of Technique and Return to Convention—The Rule of the Raphaelesque | 18 |
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| CHAPTER III. | |
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| The Pre-Raphaelite Brotherhood. | |
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| The Revolt from the Raphaelesque—Influence of Keats and the Romantic Poets—The Pre-Raphaelite Brothers and their Early work—Travels of Rossetti with Hunt—Publication of “The Germ”—Hunt and Millais in the Royal Academy—Ruskin’s letters to the “Times”—Pre-Raphaelitism at Liverpool—The Pre-Raphaelites as Colourists | 56 |
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| CHAPTER IV. | |
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| Period of Transition. | |
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| Influence of Browning and Tennyson—Comparison of Rossetti and Browning—Influence of Dante—Introduction to Miss Siddal—Rossetti’s Water-Colours—Madox Brown and Romantic Realism—The Dispersal of the Brotherhood—Departure of Woolner—Ideals of Portraiture—Rossetti and Public Exhibitions—Death of Deverell—Rossetti’s Friendship with Ruskin—Apostasy of Millais—The Rank and File of the Movement—Relation to Foreign Schools | 92 |
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| CHAPTER V. | |
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| Later Developments of the Movement. | |
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| The Pre-Raphaelites as Book-Illustrators—Moxon’s “Tennyson”—The “Oxford and Cambridge Magazine”—The Oxford Frescoes—Oxford Patrons of Millais and Hunt—Departure of Hunt for Palestine—The Pictures of Madox Brown—Further Developments of Rossetti’s Painting—Marriage and Bereavement—“Beata Beatrix”—Replicas—Life at Chelsea—Later Models—Designs for Stained Glass—Visit to Penkill—“Dante’s Dream”—Publication and Reception of the “Poems”—Paintings of Rossetti’s Last Decade—Death at Birchington | 136 |
| CHAPTER VI. | |
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| Treatment of Religious Subjects. | |
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| The Re-birth of Religious Art—“God, Immortality, Duty”—The Pre-Raphaelites and the Reconstruction of Christianity—The Halo in Painting—Ideals of Womanhood—“The Girlhood of Mary Virgin” and “Ecce Ancilla Domini”—The Problem of Suffering—“Christ in the House of His Parents,” ”The Passover in the Holy Family,” “The Shadow of Death,” “The Scapegoat”—Hunt’s Symbolism—“The Light of the World”—Rossetti’s Symbolism—“Mary Magdalene at the Door,” and “Mary in the House of John”—The Idea of Victory through Suffering—Bethlehem Gate”— “The Triumph of the Innocents”—The Spirit of Inquiry—“Christ in the Temple”—The Atonement—“The Infant Christ Adored”—Comparison with Madox Brown and Burne-Jones—“The Entombment”—“The Tree of Life” | 196 |
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| CHAPTER VII. | |
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| Treatment of MediÆval and Modern Romance. | |
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| The Christian Element in Neo-Hellenism and Romance—“How they Met Themselves” and “Michael Scott’s Wooing”—MediÆvalism and Romantic Love—“Romeo and Juliet” and “Ophelia”—Millais’s Romantic Landscapes—“The Woodman’s Daughter,” “The Blind Girl,” “The Vale of Rest,” “Autumn Leaves”—Keats’s “Isabella”—Tennyson’s “Mariana” and “Idylls of the King”—The Idea of Retribution—“King Arthur’s Tomb,” “Paolo and Francesca,” “Death of Lady Macbeth,” “The Awakening Conscience,” “Hesterna Rosa,” “The Gate of Memory,” “Found,” “Psyche,” “Proserpine,” “Pandora”—The Idea of Duty—“The Hugenot,” “The Black Brunswicker,” “Claudio and Isabella”—Old and New Chivalry— “Sir Isumbras” and “The Rescue”—“The Merciful Knight,” “St. Agnes’ Eve”—Ideal and Platonic Love—“The Salutation of Beatrice,” “The Boat of Love,” “Beata Beatrix,” “Dante’s Dream,” “Our Lady of Pity” | 222 |
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| CHAPTER VIII. | |
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| The Poetry of Dante Rossetti. | |
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| The “Pre-Raphaelite” in Literature—The Complexity of Talent in an Age of Re-birth—The Restoration of Romance in England—The Latin and the Saxon in Rossetti—Latin Diction for the Sonnets as Reflective Poetry—Saxon Diction for the Ballads as Dramatic Poetry—
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