Scanned with CamScanner\ pT Mique se reoh i oie send, Jacqueline Ridge rg Scat we Lae BP eo E ; / ; H - Pa », (XG 4 Scanned with CamScannerFirst published 2004 by order of the Tate Trustees by Tate Publishing, a division of Tate Enterprises Ltd, Millbank, London sw1P 4RG swwwtate-org.uk © Tate 2004 All rights reserved. No part of this book may be reprinted ‘or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 1 85437 498 2 Distributed in the United States and Canada by Harry N. Abrams Inc., New York Library of Congress Cataloging in Publication Data Library of Congress number applied for Designed by Susan Wightman at Libanus Press Printed in Hong Kong by South Sea International Press All photographs of complete works are copyright the institution credited in the caption, unless otherwise stated in the photographic credits on p.204. All technical Photographs were produced by Tate Conservation Department and are copyright Tate, London. ‘Measurements of works of att are given in centimetres, height before width, followed by inches Front cover: John Everett Milas Mariana 185x (fg, detail) Back cover: Details photographed in aking ight of he ly in Dnt Gabel Rosset ce Ancila Domini! (The Annunciation) 1849-50 (Bg-55, 806 also B59) Title page: Arthur Hughes April Love 1855-6 (fig. ies detail) 8: John Everett Millis Ophelia 1852-97 (ig.106, dea) aor John Everett Millis Isabella 1849 (6g.31, detail) aa: William Holman Hunt Our English Coasts, 1852 (Strayed Sheep’) 1852 (135, dea) P38: William Holman Hunt The Awakening Conscience x83 (fg.153» deta) P-se: William Holman Hunt Valentine Rescuing Sylvia from Proteus 1850-1 (65,735 4c P.76: Charles Allston Collins Convent Thoughts x850-x (B.63, detail Scanned with CamScanner1+ Revival and Reformation: The Aims and Ideals of the Pre-Raphaelite Brotherhood ALISON SMITH The Pre-Raphaelite Brotherhood (PR.B.) was formed in a spirit of youthful idealism in the autumn of 1848 by a group of seven men who were barely out of their teens. The most significant were the art students William Holman Hunt (1827-1910), Dante Gabriel Rossetti (1828-82) and John Everett Millais (1829-96) (igs-3, 2, 1). Their colleagues were the sculptor Thomas Woolner (1825-92); the painters James Collinson (1825-81) and Frederic George Stephens (1828-1907), the latter of whom subsequently became an art critic; and Rossett’s younger brother William Michael (1829-1919), then a clerk with the Inland Revenue, who also became a writer on art. Broadly speaking, they were inspired by the reformist movements of the time, 1848 being the year that witnessed revolution across Europe, Chartist demonstrations in England and the inauguration of the Christian Socialist weekly paper Politics for the People. However, it would be erroneous to describe the Pre-Raphaclites as a politically motivated group, for they held no manifesto as such, but rather functioned as a forum for the exchange and discussion of artistic and literary ideas. Given the absence of an explicit set of goals, the Brotherhood nevertheless evolved 1 coherent aesthetic and technical programme especially for the works they produced in the movement’ initial phase, between 1848 and 1853, the focus of this study. ‘Thus what they lacked in the way of an intellectual agenda was more than compensated. for by the radicalism of their methods, the appellation ‘Pre-Raphaelite Brotherhood’ itself suggesting a self-conscious revival of the techniques used by the Italian and Flemish painters who immediately preceded Raphael (1483-1520). In contrast to what the group disparaged as ‘slosh’ ~ the loose, painterly facture and heavy tonality associated with Sir Joshua Reynolds (1723-92) and upheld at least in principle by the Royal Academy ~ the Pre-Raphaelites painted in bright strident colours, building up each form in thin layers with small brushes. This created a discordant equality of focus that represented an auda- cious departure from the hallowed practice of blending colours within a hierarchically organised composition where incidental features were subordinate to the main point of pictorial interest. Scanned with CamScannerWiliam Holman Hunt Job Everett Milas 1855. Pastel and coloured chalks gerea4s (12 National Porait Gallery, London Wiliam Holman Hunt Dante Gabriel Rosset 1855. Pastel and coloured chalks 28.6025 (r1wx204) Manchester City Art Gallery res i Ever is Won Hoban Hae 1854 Pel and wacdoat Eerste ‘ica Me Oxford ™ y received as a deliberate affront to the auhoriy the methods adopted by the Pre-Raphaeies While such archaisms were certain art institution, mination of changes already taking place in British a. The yy the Romantics earlier in the century, pitch of their palettes in order ro render lal ange of tonal gradations necessary to suggest depth The wn, in order to show his of Britain's most prestigious were to a certain extent the cu fh to nature had been promulgated b} principle of tru heighten the Jeading a number of painters t0 colour while stil maintaining the r igell-known anecdote of Constable laying an old violin on the la neighbous, the collector and connoisseur Sir George Beaumont, that brown was not the js often cited to illustrate that what the artist was ying colours of nature ran counter to the dominant represen opted by some painters of applying slats tempera techniques employed by the Hunt later recalled that the ist bit of as he was copying the school tld real colour of trees and grassy to achieve in matching the true tional conventions of his day. The practice a‘ in patches led to comparisons with the fresco and so-called ‘Primitives’ of Italy and the low countries. 1 the Royal Academy occurred when, genuine instruction he received a or instructors, at David Wilkie’s Blind Fiddler of 1806, one of the Visitors, him that the artist had painted it Teas finished each bit as fresco was done vvork in the quatrocenist 1h jnting had furnished © them, and been erained.! without any dead colouring, but had revelation to me, and I began to trace the purity of drilling of undeviating manipulation which fresco-pa [ied to put aside th loose iresponsible handing to which I had “The lacunae in knowledge about Old Master techniques felt by Hunt owed mud collapse of the apprentice system in eighteenth-century Britain assume ‘ = -d a more central role in directing pedagogic practices ideas of com of composition above the handing down of studio secrets fro interest in fathom in fathoming lost processes also relates to the concern F tionalists ali alike that if Britain were to establish a school compara ym master f PRE-RAPHA ELITE PAINTING TECHNIQUES Scanned with CamScannernations it had to be firmly grounded in technique. Ever since the scandal that erupted in the late 17905 over Miss Provis's sale of the “Venetian secret’ to leading academicians, the quest to recover forgotten methods had gathered momentum, particularly for painters who, alarmed by the deteriorated paintings of Reynolds and other aspirants to high art, were seeking durability in the media they employed. Therefore, in their appeal to an earlier art form to revive the cause of British art, the Pre-Raphaelites were not without precedent. Significantly, the brilliance and stability of the pure primaries developed by the artists’ colourman George Field (1777-1854) to give practical expression to his ideas in Chromatography formed a conduit between the aspirations of contemporary painters and the past masters they were seeking to emulate.’ Mrs Merrifield thus affirmed in her 1844 translation of Cennino Cennini’s fourteenth-century II Libro dell’Arte (“The Book of Are’) that Field's pigments were the closest modern approximation to those used by early Tealian painters.* Although the interest in understanding the permanence of earlier systems was partly encouraged by modern science, it was also stimulated by the perceived asceticism and moral superiority of pre-Renaissance art in comparison to that produced after Raphael, which was conversely seen by some reformers to be corrupted by humanist ideals and a growing tendency towards operatic illusionism. By the mid-1840s a movement was under way to introduce the English public to the mysteries of early sacred art, which came not just from Romanist factions but also from Anglo-Catholic Tractarians seeking to reassert the Catholic foundations of the Church of England. The young Pre-Raphaelites were presumably familiar with Anna Jameson's Sacred and Religious Art of 1848 and Lord Lindsay's Sketches of the History of Christian Art of 1847, reviewed by John Ruskin in the Quarterly Review in June that year: If indeed they had read Lindsay, they would no doubt have been struck by the author's contention that fresco was an inherently didactic ‘medium, allowing for a harder line and drier tonality than the sensual properties of oil. ‘One of the main objectives of Lindsay's book had been to inspire Protestant artists into inaugurating a revival of religious art by according primacy to the moral sense as an agent of spiritual regeneration. The contrast established between the self-abnegation sought by pre-Raphaelite artists and the worldly materialism of their successors was later reiterated by Ruskin in his lecture on Pre-Raphaelitism of 1853 and by William Bell Scott (1811-90) who, with respect to the nomenclature ‘Pre-Raphaelite’ stated that ‘previous to the period of Raphael and the approach to naturalism, the only raison d’étre of painting in Italy may be said to have been its service to the Church’* The supposition here was that because pre-Raphaelite art was made for devotional purposes, it was pure both in terms of its style and media employed; the ‘harder’ manner of fresco, tempera and early experiments with oil were synonymous with the spirit of humble craftsmanship inculcated by the workshop system, in comparison to the extrovert ‘slosh’ practised by academies. Although it is highly likely that the Pre-Raphaclites would have imbibed such ideas from writers like Lindsay and Ruskin, the precise ascertainment of Scanned with CamScannerri Jan van Eyck Amolfin! Portrait 1434 il oa wood 8183597 (240023) National Galley, London "€ Proveg ld hare Material, Y Ruskin in focused on methods, characteristics Ei me each step of preparation and to the artists’ use of a white. cote a base for each successive operation." While Ruskin concurred aT Eastlake in arguing that the luminosity achieved by eatly northem painters was attributable to the ‘under-power’ of the white ground he nevertheless doubted the strength of such a base to add to the brilliancy of the highlights and opaque colours. Ruskin yas convinced thar the white ground used in Jan van Eyck’s Arnofni Portrait (1434, acquired by the National Gallery in 1843; fg) was unable in itself to account for the sparkling highlights, suggesting it was the painter's ingenuity in manipulating the vehicle of oil to imitare surface appearances which made his works so remarkable for theie ‘realty ‘of substance’ and ‘vacuity of space’.’ As students at the Royal Academy Schools in Trafalgar Square, the young artists had only to walk to the other side of the building to study this picture, which was then one of the rare examples of the early Flemish school in the national collection, and the debates about the technical reasons for its extraordinary would only have fuelled their curiosity to understanding how the effect had been achieved. Significantly, of all early productions, this panel exerted the greatest influence on the Pre-Raphaelites in their elimination of any trace of post-Renaissance painterlinesss and of 1853 methods taught in fifteenth-century workshops would hay, more problematic. However, one text they surely wo alighted upon was the first volume of Charles Eastlake for a History of Oil Painting of 1847." appraised ty the Quarterly Review in March 1848. This volume the Flemish school, emphasising the stability and dur tlake ascribed to the fix inevolving a complex language of symbolic realism: Hunt's Awakening Conscience and Ford Madox Brown's Take Your Son, Sir, started in 1851 (figs.153, 132), being 6° works that have invited as much speculation over interpretation as the celebrated van Eyck Portrait itself." It was partly due to this quest for a new language of painting that Host and D.G, Rossetti travelled to France and Belgium in the autumn of 1849 to examine « painters, The panels by Hans Memling ia te Hospital of St John at Bruges (fig.s) made a deep impression on both artists, and Rosset Aspatched his observations on these works to his Pre-Raphaelite brethren in London: at close range works by early Renaissani cs Pictures are not painted with oil ~ he having preceded van Eyck ~ but with ee ehicle of which brandy and white of egg are the principal components. ‘They hat fncked very slighty indeed; and one cannot conceive the colours to have HE? 4 brilliant on the day of their completion, "* Despite oe" “pite the curiosity about earlier techniques demonstrated here, the Pre BaP were gene in Beneally more interested in appropriating stylistic mannerisms than at PRE-RADH AELITE PAINTING ECH NIQUES Scanned with CamScannerrevive redundant methods. An important precedent for the medievalising tendencies in their work was the art of the Nazarenes (fig.6), an affiliation of German painters including Friedrich Overbeck (1789-1869), Peter Cornelius (1783-1867) and Franz Pforr (1788-1812), who established themselves as the ‘Lukasbund’ in Rome in 1809 and revived the processes and iconography of the quattrocento, becoming particularly proficient in fresco.!® The Nazatenes were deeply religious and lived frugally like monks, even calling, themselves a brotherhood. The Nazarenes came to influence a number of British painters including William Dyce (1806-645 fig.7) and Brown, who were personally acquainted with the movement from the time they spent in Rome, and both of whom produced works in Fics Hans Memling Altarpiece of St John the Baptist and St John the Evangelist 1474-9 Oil on panel central panel: 173.6 x 1734-7 (68% 68%) ‘outer panels each: 176 X 75.9 (68% x 2958) Memling Museum, St John’s Hospital, Brags 16.6 Johann Friedrich Overbeck St Joseph's Dream 1810 Oil on canvas 22.3 x 52.2 (874x125) Museum der Haemestade Lubeck, Germany William Dyce Madonna and Child €-1827-30. Oil on canvas 102.9 x80.6 Gyo 31%) Tate Scanned with CamScannermes JR. Herbere “The Youth of our Lord 1847-86 il on earwas gran xta9.s 2457) Gulghall Ac Gallery London a Gothicised manner for the e ‘ompettions hy 1 fy om ations of, Sale a ub list st particularly with the work of Dyce and Jp. © and JR, He ™ Hetben (1810-904 figs8), nonetheless conformed ty i compositional harmony set down by hoe Academy. Thus, when in 1849 WM. Rosset Foal the Pre-Raphaelite project as one thar a out-Herbert Herbert, he was suggesting that i ed 1843 to select works for the mural deco new Houses of Parliament, as well a f 8 for exhibition. However, this rey tremism in religious sentiment that it made the reformist art of Heb ; leben 8 The previous year, Scott visited the studio that Dg at such ex appear bland by compariso Teast shared with Hunt in Cleveland Street, andl ascribed the innovaory rane the works he saw there to the singularity of each artist's adoption of carly rchnigus and elaboration of detail. Rosset’ painting The Girlhood of Mary Virgin (as) painted in ols wth waterolout brushes, as thinly as in watercolous, on exnas ea primed with whie till che surface was as smooth as cardboard, and every tint remind transparent’ whereas Hunt's Rienzi Vowing to Obtain Justice forthe Death of is Yorg Brother ... of 1848-9 was pre-Raphaelite in the degree of derail employed: ‘he hud actually introduced a fy, minute the artis’s hand could go’. ‘The abbreviation ‘P.R.B.’, first used at the famous meet in Gower Street in September 1848, made clear the group’ inned this aesthetic, an aim that necessttl cae the ‘as we see done in some early Flemish portraits to show hor 1 in Millaiss paren’ hows 5 allegiance to early art andits concern to respect the precepts that underpi and subject matter in order to communi: experimentation with modern pigments cal alternative rote very notion of revival In this the Pre-Raphaelites were offering a radi down by the Royal Acaen later disclaimed any dist a gu prescribed rules concerning decorum in style and content set Although Hunt in his influential account of the movement s recalled that the decisive im + one consi ight ‘sublie te Ca? influence from pre-Reformation art, he nevertheless moment was instigated by the artists’ engrossment with two book contemporary illustrations in the Nazarene manner that the group thot ion, but devoid of personal instne’s the other comprising by their conser chad intellectual in inter innocent spirit th ps The impact of LH dyed rom abs? after Benozzo Gozzoli’s frescoes in the Campo Santo at Lasinio, which they found inspirational on account of the “i the master and that they sought co implant in their own art the dr time, all distinguished by an emphasis on planar composition beeween blank and densely shaded areas, as well as an extreme Tinea) contortions of form especially when it came to representing the fhuman figat 1 was preiely these qualities which determined che appearance of = ings the cohort pro accent engravings can be immediately detecte th eon (fi PRERAY APHAELITE PAINTING TECHNIQUES | Scanned with CamScannerHcg John Everett Millis The Disentonsbment ‘of Queen Matilda +849. Pen and ink 32.9 42.9 (9 x 16%) Tate painting: the steep perspective lines in D.G. Rossett’s The Girlhood of Mary Virgin (fig.24)5 the stiff, angular limbs in Millsis's Isabella (fig.31) and Christ in the House of His Parents (fg.47 the deliberate avoidance of underlying anatomy in D.G. Rossett’s Ecce Ancilla Dontit! (The Annunciation) and Charles Allston Collins's Convent Thoughts (figs.55, 62); and above all, a two-dimensional flatness attained by a uniformity of focus and vibrancy of colour throughout. Although it would be true to say that Pre-Raphaelite art was most authentically pre- Raphaelite its initial phase, beyond the most obvious contrivances it has little in common with the techniques that were used to create the sacred att of the early Renaissance. The experimentation that took place with wet white grounds is often credited as the principal link with the past, approximating co the frescoist’s practice of applying colour directly onto wet plaster in order to fuse the pigment with the support to guarantee stability. What made the technical side of the Pre-Raphaelite project appear so revolutionary, however, was the artists’ gambit of taking their canvases out of doors rather than working them up from studies in the studio. Even though painters such as J. M.W. Turner and John Constable had made sketches on location, these were on the whole hastily painted and functioned as études for larger exhibition pictures. Similarly Ruskin’s exhortation at the end of ‘Modern Painters I of 1843 that artists should go to nature ‘rejecting nothing, selecting, nothing, and scorning nothing’ was not intended to apply to finished works but was rather conceived as a prescription for making paintings on the basis of separate studies."* The Pre-Raphaelite programme of painting the landscape part of the composition out of doors gradually led them to abandon preparatory sketches, a resolution Hunt communicated to Millais as carly as February 1848: ‘painting the whole out of doors, direct on the ‘canvas itself, with every detail I can see, and with the sunlight brightness of the day itself”. ‘The rapid expansion of the railway network in the late 18408 and early 18508 would have facilitated this undertaking. Scanned with CamScannerape re Raphaites were rows I COME, parc vor mbm, 88 inevitable that they should be interpreted 9 ve ote ee macked of Roman. Catholicism and was therefore anathema 4, a oi so, The extreme physicality of the Figures in Christy a ie i, h the almost palpable droplets of blood on the Christ chile ematin ofthe Catholic doctrine of tansubsagga nl Ie fence in the distance provide a symbolic tnalog foie productions a syle protestant status 4 Parents, sogether witl have been taken as am a “hep behind the watt See ihe laity behind a chancel seen ina church. The outburst ofp, fealng in 1850, following Pious IX's Catholic restoration of an ecclesiastical ay ton that had nr existed in England since the Reformation, would only have eet romicions thatthe RRLB. was operating 35 the agent of a revitalised Catholicism, om pequence ofthe osteo he art establishment, whether expresed ny fe-Raphaclite works at the Royal Academy or in negative cian rch for alternative outlets for exhibition and sale. Following iy ila Domini! (The Annunciation) at the ni tiPapig positioning of Pr the press, was the sea harsh criticism of Ecce Ancil al institu, D.G. Rosset rarely showed in public again, while the others found a more sympathetic reception outside London, particularly at the Liverpool Academy where th prap rehbited from 1851- Millas in the meantime was keen to be elected a member of Royal Academy, and significantly he was the first to question the propriety ofthe gop continuing to call itself the PR.B., requesting in early 185x that each member writ 2 hhension of the name. The fact that no redefinition of sins manifesto declaring his compre emerged would indicate that the group needed to mobilise the more literary of is menbes into formulating a mission statement to persuade the public as tothe integrity of its atand intentions. By 1851 W.M. Rossetti was defending the Brotherhood’s aims in the Spectr, but an advocate was still needed from outside the immediate circle. The breakthrouh came in May of that year when Ruskin published two letters on Pre-Raphaelitism The Times, and later in the year produced an independent pamphlet on the movemet. Ti first letter was important in countering accusations that the Pre-Raphaclite progam? was regressive or Tractarian in character. Instead, Ruskin asserted that its real dab with the past resided in its truth-to-nature emphasis: en lies, They imend to return to early days in this one point only ~ that, as far asin et they will daw ether what they ee, or what they suppose might have been the acual ofthe scene. because al arts did this before Raphael's time, and afer Rail time did nts, but sought to pin fie pcre rahe han epee 8 HOS which the consequence has been that, from Raphael's time to this da, histori! a Hi been in acknowledged decadence.” Te no mere coincidence that Ruskin's notion of ‘stem facts should ie oi mie time when painting out of doors became central to Pre-Raphatis ie Hiern might be mistaken in supposing that the scientific dim mission encouraged an impersonal style of representation rension o the artists i™"° PRE-RAPHAELL ELITE PAINTING TECHNIQUES 4 Scanned with CamScannerharboured distinct artistic approaches. D.G. Rossetti soon abandoned the practice of working in the open air, being deterred by the unpredictability of nature, while Hunt valued the close study of natural specimens as a means of fathoming spiritual insights. Millais tended to be regarded more as a neutral recorder of minute data, one who in Ruskin’s words ‘remembers nothing and invents nothing’." Likewise, Brown’s avoidance ‘of any deeper philosophical meaning by responding to the purely visible aspects of the physical world could be seen as a form of proto-Aestheticism or Impressionism. R.A.M. Stevenson's much quoted eulogy over The Pretty Baa Lambs, ‘By God! the whole history ‘of modern art begins with that picture’, is prescient in recognising the revolutionary nature of its dazzling colour and blinding light.:* The break-up of the Brotherhood as a cohesive movement owes much to the diffusion of its style as the group attracted followers and converts. After the defection of Collinson in July 1850 disagreement ensued over whether Deverell or Collins should take his place, leading to Millas's questioning of the very basis of the Brotherhood mentioned above. In the meantime the PR.B. had nurtured a network of dealers and collectors for whom the style and content of the group’s work were pertinent to the needs of a modern secular industrialised society. As controversy subsided, other artists were lured into the move- ‘ment’s orbit including Thomas Seddon, Arthur Hughes, Henry Wallis, John William Inchbold, George Price Boyce and John Brett. Elizabeth Siddall entered the circle via D.G. Rossetti, while Rosa Brett and Joanna Boyce were introduced by their respective brothers. It was the very success of the movement around 1853 that paradoxically contributed to its dissolution. In January that year W.M. Rossetti recorded in his journal ‘we have emerged from reckless abuse to a position of general high recognition’ but shortly after this lamented that the PR.B. was ‘no longer a sacred institutio * The immediate break came when Millais was elected an Associate of the Royal Academy in the autumn of 1853, following the success of A Huguenot... at the annual Academy exhibition in 1852, and when Hunt departed for the Holy Land at the beginning of 1854. The style known as Pre-Raphaelitism gradually became more diffuse as many painters began to reject the credo of truth to nature and returned to working from memory and aaides-mémoire in the studio. The second phase of Pre-Raphaelitism soon came to be seen as the antithesis of the first, as artists turned away from social and moral themes in favour of figurative subjects that impinged more directly upon the senses, and which appealed to the cognoscenti rather than to a broad public. However, so powerfully do the early works of the Pre-Raphaelites communicate as material facts that their symbolic or sacra- ‘mental content often appears subsumed in a sensuous celebration of the physical world. It is here that the early work of the Pre-Raphaclites clides with the ‘fleshly’ material ideals of their successors, epitomised by what were considered by many to be the sensuous and ‘atheistic’ proclivities of Rossetti, Burne-Jones and their followers. Scanned with CamScanner196 Notes CHAPTER 1 Revival and Reformation: The Aims and Ideals of the Pre-Raphaelite Brotherhood pp. WH. Hunt, ‘The Pre-Raphaelite Brotherhood: A Fight for Ar’, ‘Contemporary Review, vol.49, April-June 1886, pp.471-88, se€ p.476. See K. Garlick and A. Macintyre, The Diary of Joseph Farington 1793-1821, voll, ‘New Haven and London, 1978-84, .703, forthe earliest reference to this (fake) paint said to have been used by the Venetian Old Masters George Field, Chromatography: A Treatise ‘on Colour and Pigments and their Power in Painting, London, 1835, J. Gage, George Field and his Circe: From Romanticism tothe Pre-Raphaelite Brotherhood, exh cat., Cambridge, 1989, p2r3, ELT. Cook and A. Wedderburn (eds), The Complete Works of Jobm Ruskin, 39 vos. London, 1903-12, volLXIl,pp.169-248. ‘Cook and Wedderburn 1903-12, vol XI, 139 Scott quoted in I. Bryden, The Pre-Raphacltes: Writings and Sources, vol, 1998, p.163. CL. Eastlake, Methods and Materials of Painting of the Great Schools and Masters, Dover Publications, London, 1960 (formerly titled Materials for a History of Oil Painting, London, 1847). Cook and Wedderburn 1903-12, volXIl, pp.ast-so2. Cook and Wedderburn 1903-12, vol XII, PP.256, 293. For a detailed examination of the iconography of The Arnolfini Portrait ce L. Campbell, The Fifteenth-Century Netherlandish Schools, National Gallery, London, 1998, pp.198-204 WM. Rossetti (ed, Pre-Raphaelite Diaries and Letters, London, 1900, p.x6: letter dated 25 October 1849, K. Andrews, The Nazarenes: A Brotherhood of German Painters in Rome, Oxford, 1964, 15 Rossetti 1900, p.205: PRB. Journal, September 1849. 4 Bryden 1998, p.162. 15 WH, Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2 vols. London, 1905, see vol, pp.130~ 16 Cook and Wedderburn 1903-12, voll, pp.6as- 17 Hunt 1905, voll, ps 18 Rossetti 1900, p.169: diary entry, 6 March 1855, 19. Bryden 1998, p.162. A contemporary ddaguerteotype of Rossett’s The Girlhood of ‘Mary Virgin was reproduced in Hunt 1905, vol, p6. 0 WE. Fredeman, The PR.B. Journal William Michael Rossett's Diary of the Pre-Raphaelite Brotherhood 1849-1853 together with other Pre-Raphaelite Documents, Oxford, 1975, p.6: entry for 24 May 1849. a1 E Haskell, Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France, Oxford, 1980, pp-98-100. For information on the critical attacks leveled at Millais's Christin the House of His Parents see E. Prettejohn, The Art of the Pre-Raphaelite, London, 2000, PP.46-53, a2, Fredeman 1975, p.87: RR.B. Journal, 15 January 1851 25 “The Pre-Raphaelite Artist’, The Times 13 May 1851; Cook and Wedderburn 1903-12, vol XIl, p.322. 124 Cook and Wedderburn 1903-12, vol.XIl, P59. Quoted in A. Staley, The Pre-Raphaelite Landscape, London, rev. edn 2001, p33 26 Fredeman 1975, pp.97, 99 CHAPTER 2 Background, Training and Influences pp.at-27 G, Waterfield (ed), °C. National Gallevis', in Palaces of Art: Art Galleries in Britain 1790-1990, exh. cat., Dulwich Picture Gallery, London, 1991, p.t00. 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