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Updated: June 3, 2025
The variety in these Annunciations depends, as I have remarked, not upon a new dramatic conception, producing, as in the case of Rossetti's, a new visible arrangement; but upon the particular kind of form preferred by the artist, and the particular kind of expression common in his pictures; the variety, I may add, is, with one or two exceptions, a variety in inertness.
The Lisa whom Leonardo shows us and the Lisa whom Pater interprets for us are the same in essence yet different in their power to affect us. The difference resulting from the kind of medium employed is well exemplified by Rossetti's "Blessed Damozel."
Painting was the chief work of Rossetti's life, but he wrote many other poems. Some of the most characteristic of these are the two semi-ballads, Sister Helen and The King's Tragedy, Rose Mary, Love's Nocturn, and Sonnets. One of the earliest of these Sonnets, Mary's Girlhood, describes the child as: "An angel-watered lily, that near God Grows and is quiet."
There is no need to multiply instances of this friendship, which has been enlarged upon by Rossetti's brother, and by many others. Elizabeth Luther Gary, in the best of all the books upon Rossetti, published by G. P. Putnam's Sons two years after the first edition of Aylwin, speaks of D'Arcy as being 'the mouthpiece of Rossetti.
Many years ago I realised this over Rossetti's poem "Cloud Confines." It is made out of a little lump of tawdry material which says nothing, is, indeed, mere twaddle. Yet it is wrought with so marvellous a technique that we seem to catch in it a far-away echo of voices that were heard when the morning stars sang together, and it clings tremulously to the memory for ever.
Soon after dinner on the evening of the Marchesino's expedition with Artois, Vere had got up from the sofa, on which she had been sitting with a book of Rossetti's poems in her hand, had gone over to one of the windows, and had stood for two or three minutes looking out over the sea.
For the early Italian poets, excepting Carducci's "Cino da Pistoia," my references are the same as those in Rossetti's "Dante and his Cycle," especially the "Rime Antiche" and the "Poeti del Primo Secolo." Professor d'Ancona's pleasant volume has greatly helped me in the history of the transformation of the courtly poetry of the early Middle Ages into the folk poetry of Tuscany.
Rossetti's income, according to his own statement, was, at that time, £3000 a year, but he was always in debt. He denied himself nothing that struck his fancy, and he had the most costly Oriental porcelain in London, and the most beautiful old furniture to be found, and the most princely disregard of expenditure. I had finally to refuse to continue the life in common. Dante invited Mr. and Mrs.
Rossetti's poem, Sister Helen, has made this example of imitative magic fairly familiar to those who would probably never otherwise have heard of it. "Why did you melt your waxen man, Sister Helen? To-day is the third since you began." "The time was long, yet the time ran, Little brother." "Oh, the waxen knave was plump to-day, Sister Helen; Now like dead folk he has dropped away!"
The circumstances connected with Rossetti's visit to Oxford a little earlier than this are too recent, are fresh in the memories of too many living persons of distinction, to be discussed with propriety by one who was not present. But certain facts are public, and may be mentioned.
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