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Updated: June 3, 2025
Underneath, with a leap across the centuries, is Rossetti's picture; Dante this time the onlooker, Beatrice, in her pale beauty, the death-kissed one. The same idea under different representations; the one conceived in childlike simplicity, the other recalling, even in the photograph, its wealth of colour and imagining; the one a world-wide ideal, the other an individual expression of it.
It is, of course, in the illustrated editions of Aylwin that D'Arcy's identification with Rossetti and his importance in the story become specially manifest. On page 204 of the illustrated editions an exact picture has been given by Rossetti's pupil, Dunn, of the famous studio at 16 Cheyne Walk the studio which will always be associated with Rossetti's name.
Rossetti's influence, though always partial and never leaving a genuine pupil, was very wide, in the end, it seems to me, much exceeding that of Millais and that of Holman Hunt; but it is a question in which of his two functions poet or painter it was most effective.
But while Tennyson put out his full strength in 1842, and Mr. Morris's "Defence of Guenevere," and flowered till Mr. Swinburne's "Atalanta in Calydon" appeared in 1865, followed by his poems of 1866. Mr. Rossetti's book of 1870 belonged, in date of composition, mainly to this period. In 1858, when "The Defence of Guenevere" came out, Mr.
We can supply good verses for all these if we take pains to search, and if we eschew ignorant and unpoetic modern doggerel as we eschew poison. Besides the nursery rhymes, we have Stevenson, with his "Wind," "Shadow," and "Swing," Christina Rossetti's "Wrens and Robins," her "Rainbow Verses" and "Brownie, Brownie, let down your milk, White as swansdown, smooth as silk."
But to estimate human possibilities high and human performances low, and to class one's own performances with the latter rather than the former, this is temperate and manly and strong. There is a picture of Rossetti's, very badly painted, I think, from the technical point of view, of Lucrezia Borgia.
There are those who seriously maintain Miss Rossetti's claim to the highest rank among English poetesses, urging that she excels Mrs. Browning, her only possible competitor, in freedom from blemishes of form and from the liability to fall into silliness and maudlin gush, at least as much as she falls short of her in variety and in power of shaping a poem of considerable bulk.
The autotypes that hung about the room were eloquent of aesthetic ambitions and of a certain impermeability to implicit meanings. There were the Mirror of Venus by Burne Jones, Rossetti's Annunciation, Lippi's Annunciation, and the Love of Life and Love and Death of Watts.
She looked so white and cool and perfect, so apart from common clay, that all at once Queen Guinevere ceased to be my type of her, and I thought of "Lilith, first wife of Adam," as we see her in Rossetti's fanciful poem: Not a drop of her blood was human, But she was made like a soft, sweet woman.
Watts-Dunton would give the memoir of his great friend to the world, but there is such a thing as knowing a man too well to be his biographer. It is, however, an open secret that a vivid sketch of Rossetti's personality has been given to the world in Mr. Watts-Dunton's well-known romance Aylwin, where the artist D'Arcy is drawn from Rossetti.
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