Biography of Dante Gabriel Rossetti Painter 1828-1882

In 1826 [his father] Gabriele Pasquale Giuseppe Rossetti 1783-1854 (42) and Frances Mary Lavinia Polidori 1800-1886 (25) were married.

On 12 May 1828 Dante Gabriel Rossetti Painter 1828-1882 was born to [his father] Gabriele Pasquale Giuseppe Rossetti 1783-1854 (45) and Frances Mary Lavinia Polidori 1800-1886 (28).

In Sep 1847 the Pre-Raphealite Brotherhood was formed at 7 Gower Street, the home of John Everett Millais Painter Baronet 1829-1896 (18). The founder members included brothers Dante Gabriel Rossetti Painter 1828-1882 (19) and [his brother] William Michael Rossetti Author 1829-1919 (17), and William Holman Hunt Painter 1827-1910 (20), John Everett Millais Painter Baronet 1829-1896 (18) and Thomas Woolner Sculptor 1825-1892 (21).

1871. George Frederick Watts 1817-1904. Portrait of John Everett Millais Painter Baronet 1829-1896. 1853. William Holman Hunt Painter 1827-1910. Portrait of John Everett Millais Painter Baronet 1829-1896.

Between 1848 and 1849. Dante Gabriel Rossetti Painter 1828-1882 (19). "The Girlhood of Mary". Model for St Anne [his mother] Frances Mary Lavinia Polidori 1800-1886 (47), model for Mary Christina Georgina Rossetti 1830-1894 (17). Note the initials PRB bottom left under his name. First exhibited at the Free Exhibition at the Hyde Park Corner Gallery. It was bought for £80 by Harriet Baring Marchioness Bath 1804-1892 (43) who subsequently gifted it to her daughter Louisa Isabella Harriet Thynne 1834-1919 (14).

Mar 1850. Dante Gabriel Rossetti Painter 1828-1882 (21). "Ecce Ancilla Domini!" aka The Annunciation. Models: Angel [his brother] William Michael Rossetti Author 1829-1919 (20), Mary Christina Georgina Rossetti 1830-1894 (19).

1853. William Holman Hunt Painter 1827-1910 (25). Portrait of Dante Gabriel Rossetti Painter 1828-1882 (24).

Between 1854 and 1855. Dante Gabriel Rossetti Painter 1828-1882 (25). [his future wife] Elizabeth Siddal (24) Seated at an Easel, Painting.

Around 1854. Dante Gabriel Rossetti Painter 1828-1882 (25). [his future wife] Elizabeth Siddal (24) Seated on the Ground.

1854. Dante Gabriel Rossetti Painter 1828-1882 (25). "Found". Model Sarah Cox aka Fanny Cornforth Model 1835-1909 (18).

1854. Dante Gabriel Rossetti Painter 1828-1882 (25). [his future wife] Elizabeth Siddal (24) Reading.

1854. Dante Gabriel Rossetti Painter 1828-1882 (25). [his future wife] Elizabeth Siddal (24) Seated at a Window.

Around 1854. Dante Gabriel Rossetti Painter 1828-1882 (25). [his future wife] Elizabeth Siddal (24) Elizabeth Siddal – Study for Delia in 'The Return of Tibullus to Delia'.

On 24 Apr 1854 [his father] Gabriele Pasquale Giuseppe Rossetti 1783-1854 (71) died. He was buried in the Rossetti Family Grave.

1855. Dante Gabriel Rossetti Painter 1828-1882 (26). [his future wife] Elizabeth Siddal (25) in a Chair.

Between 1855 and 1859. Dante Gabriel Rossetti Painter 1828-1882 (26). Louisa Ruth Herbert Actor Model 1831-1921 (24).

In 1856 Emma Lucy Madox Brown Painter 1843-1894 (12) was sent to live with the household of Dante Gabriel Rossetti Painter 1828-1882 (27).

1874. Dante Gabriel Rossetti Painter 1828-1882. Portrait of his sister-in-law Emma Lucy Madox Brown Painter 1843-1894.

Around 1857 Simeon Solomon Painter 1840-1905 (16) was introduced by Dante Gabriel Rossetti Painter 1828-1882 (28) to members of the Pre-Raphealite Brotherhood including Algernon Charles Poet Swinburne 1837–1909 (19) and Edward Coley Burne-Jones Painter Baronet 1833-1898 (23).

1870. George Frederick Watts 1817-1904. Portrait of Edward Coley Burne-Jones Painter Baronet 1833-1898.

Letters of Dante Gabriel Rossetti 1857. In Feb 1857 Dante Gabriel Rossetti Painter 1828-1882 (28) wrote to William Bell Scott Painter 1811-1890 (46):

Two young men, projectors of the "Oxford and Cambridge Magazine," have recently come up to town from Oxford, and are now very intimate friends of mine. Their names are Morris (22) and Jones (23). They have turned artists instead of taking up any other career to which the university generally leads, and both are men of real genius. Jones’s designs are marvels of finish and imaginative detail, unequalled by anything unless perhaps Albert Durer’s finest works’ (W. B. Scott, Memoirs, ii. 37).

1858. Dante Gabriel Rossetti Painter 1828-1882 (29). Fair Rosamund. Model Sarah Cox aka Fanny Cornforth Model 1835-1909 (22).

1858. Dante Gabriel Rossetti Painter 1828-1882 (29). Drawing of Sarah Cox aka Fanny Cornforth Model 1835-1909 (22).

1858. Dante Gabriel Rossetti Painter 1828-1882 (29). Louisa Ruth Herbert Actor Model 1831-1921 (27).

Around 1858. Dante Gabriel Rossetti Painter 1828-1882 (29). Drawing of Sarah Cox aka Fanny Cornforth Model 1835-1909 (22).

1858. Dante Gabriel Rossetti Painter 1828-1882 (29). Mary Magdalene at the door of Simon the Pharisee. Model Louisa Ruth Herbert Actor Model 1831-1921 (27).

1858. Dante Gabriel Rossetti Painter 1828-1882 (29). Portrait of Marie Spartali aka Stilman Painter 1844-1927 (13).

Letters of Dante Gabriel Rossetti 1858. On 01 Jun 1858 Dante Gabriel Rossetti Painter 1828-1882 (30) wrote to William Bell Scott Painter 1811-1890 (47):

I am in the stunning position this morning of expecting the actual visit, at ½ past 11, of a model whom I have been longing to paint for years – Miss Herbert (27) of the Olympic Theatre – who has the most varied and highest expression I ever saw in a woman's face, besides abundant beauty, golden hair, etc. Did you ever see her? O my eye! she has sat to me now and will sit to me for Mary Magdalene in the picture I am beginning. Such luck!’.

20 Sep 1858. Dante Gabriel Rossetti Painter 1828-1882. Drawing of Louisa Ruth Herbert Actor Model 1831-1921. 1876. Dante Gabriel Rossetti Painter 1828-1882. Drawing of Louisa Ruth Herbert Actor Model 1831-1921. 1877. Dante Gabriel Rossetti Painter 1828-1882. Drawing of Louisa Ruth Herbert Actor Model 1831-1921.

20 Sep 1858. Dante Gabriel Rossetti Painter 1828-1882 (30). Drawing of Louisa Ruth Herbert Actor Model 1831-1921 (27).

1859. Dante Gabriel Rossetti Painter 1828-1882 (30). "The Bower Garden". Model [his future wife] Elizabeth Siddal Model 1829-1862 (29). The picture was first purchased by [his future wife] Elizabeth Siddal Model 1829-1862 (29). After his death it was purchased by James Leathart 1820-1895 (39).

Around 1860. Dante Gabriel Rossetti Painter 1828-1882 (31). Portrait of Annie Miller Model 1835-1925 (25).

Memorials of Edward Burne-Jones 1860. Before 23 May 1860. Since the time that Rossetti was called away from Oxford, in October, 1857, by the illness of [his future wife] Miss Siddal (30), he and Edward (26) had been less together, but there had been no decrease of affection between them, and so it was of the most vital interest to us when we learnt that Gabriel (32) was to be married about the same time as ourselves. He and Edward at once built up a plan for our all four meeting in Paris as soon as possible afterwards; I went home to Manchester to make my preparations, and it was decided that the fourth anniversary of our engagement, the 9th of June, should be our wedding-day. The conditions on which we started life were, pradically no debts, except of work to Mr. Flint, and the possession of about £30 in ready money; and I brought with me a small deal table with a drawer in it that held my wood-engraving tools. Three days before our marriage, however, came a note from the unfailing Mr. Flint: "The two pen-and-ink drawings are to hand to-day. I enclose order for £25 which you may need just now."So here was riches.

Memorials of Edward Burne-Jones 1860. After 09 Jun 1860. It was quite clear that we must give up Paris and get to our own home as soon as the doctor gave Edward leave to travel; so ruefully enough I wrote to Gabriel and told him how things were; and his answer was a comfort to us, for he reported that they were both tired of

On 23 May 1860 Dante Gabriel Rossetti Painter 1828-1882 (32) and [his wife] Elizabeth Siddal Model 1829-1862 (30) were married at St Clement's Church.

Memorials of Edward Burne-Jones 1860. 09 Jun 1860. The 9th of June fell on a Saturday, and we decided to go no further that day than to Chester, where we should see its curious streets and attend service at the Cathedral on Sunday; Gabriel (32) and his [his wife] wife (30) were by this time in Paris, and we hoped to join them a few days later. But this was not in store for us, for unhappily Edward (26) had been caught in a rain-storm a day or two before and already had a slight sore-throat, which now so quickly grew worse that by noon on Sunday he was almost speechless from it and in the hands of a strange doftor. This illness was a sharp check, and we found ourselves shut up for some days in a dreary hotel in an unknown place; but a gleam of satisfadion reached us when the doctor spoke of me to Edward (26) as "your good lady," and gave me directions about what was to be done for the patient, with no apparent suspicion that I had not often nursed him before. Trusting in this and in some half-used reels of sewing cotton ostentatiously left about, as well as a display of boots which had already been worn, we felt great confidence that no one would guess how ignominiously newly-married we were.

Memorials of Edward Burne-Jones 1860. After 09 Jun 1860. It was quite clear that we must give up Paris and get to our own home as soon as the doctor gave Edward (26) leave to travel; so ruefully enough I wrote to Gabriel (32) and told him how things were; and his answer was a comfort to us, for he reported that they were both tired of "dragging about,"and looked forward with pleasure to sitting down again with their friends in London as soon as possible. "[his wife] Lizzie (30) and I are likely to come back with two dogs,"he continues, "a big one and a little one. We have called the latter Punch in memory partly of a passage in Pepys's Diary, "But in the street. Lord, how I did laugh to hear poor common persons call their fat child Punch, which name I do perceive to be good for all that is short and thick." We have got the book with us from Mudie's, and meant to have yelled over it in company if you had come to Paris. We are now reading Boswell's Johnson, which is almost as rich in some parts."This reading of Boswell resulted in the water-colour drawing of "Dr. Johnson at the Mitre "which Rossetti brought back with him from Paris.

Memorials of Edward Burne-Jones 1860. Rossetti (32) and his [his wife] wife (30), after their return from Paris, took a lodging at Hampstead, but she was so ill at first that we never saw her till near the end of July, when to our great delight a day was fixed for the deferred meeting, and Gabriel suggested that it should take place at the Zoological Gardens. "The Wombat's Lair" was the assignation that he gave to the Madox Browns and to us. A mention of this meeting in a letter that I wrote next day gives the impression of the adlual time: "She was well enough to see us, and I find her as beautiful as imagination, poor thing."

Memorials of Edward Burne-Jones 1860. I wish I could recall more details of that day - of the wombat's reception of us, and of the other beasts we visited - but can only remember a passing call on the owls, between one of whom and Gabriel (32) there was a feud. The moment their eyes met they seemed to rush at each other, Gabriel rattling his stick between the cage bars furiously and the owl almost barking with rage. [his wife] Lizzie's (30) slender, elegant figure - tall for those days, but I never knew her actual height - comes back to me, in a graceful and simple dress, the incarnate opposite of the "tailor-made" young lady. We went home with them to their rooms at Hampstead, and I know that I then received an impression which never wore away, of romance and tragedy between her and her husband. I see her in the little upstairs bedroom with its lattice window, to which she carried me when we arrived, and the mass of her beautiful deep-red hair as she took off her bonnet: she wore her hair very loosely fastened up, so that it fell in soft, heavy wings. Her complexion looked as if a rose tint lay beneath the white skin, producing a most soft and delicate pink for the darkest flesh-tone. Her eyes were of a kind of golden brown - agate-colour is the only word I can think of to describe them - and wonderfully luminous: in all Gabriel's drawings of her and in the type she created in his mind this is to be seen. The eyelids were deep, but without any languor or drowsiness, and had the peculiarity of seeming scarcely to veil the light in her eyes when she was looking down.

PAINTINGS/SIDDALL/The_Woeful_Victory.jpgWhilst we were in her room she shewed me a design she had just made, called "The Woeful Victory" - then the vision passes.

Around 25 Dec 1860. Dante Gabriel Rossetti Painter 1828-1882 (32). Portrait of Mrs William Morris aka Jane Morris nee Burden Model 1839-1914 (21). Signed top-left Upton (ie the Red House) Xmas 1860.

1862. Dante Gabriel Rossetti Painter 1828-1882 (33). Portrait of Alice Boyd Painter 14th Lord Penkill 1825-1897 (37).

On 11 Feb 1862 at twenty past seven in the morning [his wife] Elizabeth Siddal Model 1829-1862 (32) overdosed on laudanum at 14 Chatham Place. Possibly suicide - there may have been a note that said "look after Harry (her invalid brother)" which Ford Madox Brown (40) persuaded Dante Gabriel Rossetti Painter 1828-1882 (33) to burn.

1867. Dante Gabriel Rossetti Painter 1828-1882. Drawing of Ford Madox Brown Painter 1821-1893.

1863. Dante Gabriel Rossetti Painter 1828-1882 (34). "Dona en Groc" aka "Woman in Yellow". Model Annie Miller Model 1835-1925 (28).

1863. Retouched 1873. Dante Gabriel Rossetti Painter 1828-1882 (34). Die Geliebte aka The Beloved aka The Bride. Models: Front, centre Alice aka Alexa Wilding Model 1847-1884 (16), left Ellen Smith Model, back left Marie Ford Model, back left Fanny Entwhistle aka Eaton Model 1835-1924 (27) and front right Keomi aka Keytumas Gray Model 1841-1914 (21).

1863. Dante Gabriel Rossetti Painter 1828-1882 (34). "Helen of Troy". Model Annie Miller Model 1835-1925 (28).

Letters of Dante Gabriel Rossetti 02 Jan 1863 to James Anderson Rose. 02 Jan 1863. Friday. 16 Cheyne Walk, Chelsea.

My dear Rose (43)

I have asked Whistler to dinner Thursday next at 6. Will you meet him?

Your

D G Rossetti (34)

Next Wednesday will do well for the Deed of Partnership

1862. Frederick Sandys Painter 1829-1904. Portrait of Susanna Rose nee Anderson 1795-1870. Mother of collector James Anderson Rose 1819-1890. Sandys exhibited this portrait at the Royal Academy in 1863. 1902. Frederick Sandys Painter 1829-1904. Portrait of Emily Winter Rose nee Chadwick 1825-1907, wife of collector James Anderson Rose 1819-1890.

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Letters of James McNeill Whistler 16 Mar 1863 to James Anderson Rose. 16 Mar 1863 or 23 Mar 1863. 7a Queens Road West, Chelsea. Monday - / March

Dear Rose (43) -

Any news about "my house" - . Is it all right? am I wanted to take any step? or will it all be settled without me? Are you going to make him do anything at all to the house and can I go in shortly when the agreement is made

I have been knocked up for a couple of days with rheumatism but hope to get to work again tomorrow - I was very sorry not to see you the other day at Rosetti's (34) -

Will you drop me a line about the house.

With many thanks

Ever Yours

J Whistler (28)

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Letters of James McNeill Whistler 13 May 1863 to Dante Gabriel Rossetti. 13 May 1863. 7 Lindsey Row Battersea Bridge Old Chelsea. Wednesday

Dear Rossetti (35) -

Do come and breakfast with me on Sunday next at half past eleven - to meet Gambart (48) and perhaps Steevens (40) -

Ever yours

J Whistler (28)

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Letters of Dante Gabriel Rossetti 09 Dec 1863 to James Leathart. 09 Dec 1863. 16 Cheyne Walk, Chelsea.

My dear Leathart (43),

The picture of Whistler's (29) which I mentioned was the unfinished Chinese one, since bought by Gambart (49) & which was, as I thought, the one about which you wished to know.

The Thames picture is still unsold, and on enquiring of Whistler (29) I find its price is 300 guineas. It is the noblest of all the pictures he has done hitherto, and is the one for your collection.

As regards Legros' works, I yesterday saw for the first time a picture he is doing now, of Hamlet in his mother's chamber, where he kills Polonius, about 20 inches by 15 I suppose in size, it may be rather more, and a truly admirable work, the finest he has done in London as yet. He intends to ask 45 guineas for it. It is so very cheap proportionately to the other that I am induced to mention it to you, since it is a work which will stand the proximity of anything whatever, being most full & luminous in colour, though, like all his work, low in tone.

With kind rememberances to Mrs. Leathart[8].

I remain my dear Leathart

Yours ever truly

D G Rossetti (35)

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Between 1864 to 1868. Dante Gabriel Rossetti Painter 1828-1882 (35). Study for Venus Verticordia aka Venus, Changer of the heart. Model: Alice aka Alexa Wilding Model 1847-1884 (17).

From 1864 to 1870. Dante Gabriel Rossetti Painter 1828-1882 (35). "Beata Beatrix". Model [his former wife] Elizabeth Siddal Model 1829-1862 (34).

Between 1864 to 1868. Dante Gabriel Rossetti Painter 1828-1882 (35). Venus Verticordia aka Venus, Changer of the heart. Model Alice aka Alexa Wilding Model 1847-1884 (17).

1865. Dante Gabriel Rossetti Painter 1828-1882 (36). Sarah Cox aka Fanny Cornforth Model 1835-1909 (29).

1865. Dante Gabriel Rossetti Painter 1828-1882 (36). The Blue Bower. Model Sarah Cox aka Fanny Cornforth Model 1835-1909 (29).

1865. Dante Gabriel Rossetti Painter 1828-1882 (36). Study for Washing Hands. Drawing of Alice aka Alexa Wilding Model 1847-1884 (18).

1866. Dante Gabriel Rossetti Painter 1828-1882 (37). Monna Vanna aka Vain Woman. Model: Alice aka Alexa Wilding Model 1847-1884 (19).

1866. Dante Gabriel Rossetti Painter 1828-1882 (37). Drawing of [his sister] Christina Georgina Rossetti 1830-1894 (35).

1866. Dante Gabriel Rossetti Painter 1828-1882 (37). Drawing of Annie Miller Model 1835-1925 (31).

1866. Dante Gabriel Rossetti Painter 1828-1882 (37). Watercolour "Hamlet and Ophelia".

1866. Dante Gabriel Rossetti Painter 1828-1882 (37). Regina Cordium aka Queen of Hearts. Model: Alice aka Alexa Wilding Model 1847-1884 (19).

Around 1866. Dante Gabriel Rossetti Painter 1828-1882 (37). Study for Sibylla Palmifera aka Soul's Beauty. Model: Alice aka Alexa Wilding Model 1847-1884 (19).

From 1866 to 1870. Dante Gabriel Rossetti Painter 1828-1882 (37). Sibylla Palmifera aka Soul's Beauty. Model: Alice aka Alexa Wilding Model 1847-1884 (19).

Around 1867. Dante Gabriel Rossetti Painter 1828-1882 (38). Mary Magdalene. Model: Alice aka Alexa Wilding Model 1847-1884 (20).

Around 1867. Dante Gabriel Rossetti Painter 1828-1882 (38). Aspecta Medusa. Model: Alice aka Alexa Wilding Model 1847-1884 (20).

1867. Dante Gabriel Rossetti Painter 1828-1882 (38). Drawing of Ford Madox Brown Painter 1821-1893 (45).

1867. Dante Gabriel Rossetti Painter 1828-1882 (38). "Jolie Coeur". Model Marie Spartali aka Stilman Painter 1844-1927 (22).

1867. Dante Gabriel Rossetti Painter 1828-1882 (38). Rosa Triplex. Model: Alice aka Alexa Wilding Model 1847-1884 (20).

1868. Dante Gabriel Rossetti Painter 1828-1882 (39). Blue Silk Dress. Model Jane Morris nee Burden Model 1839-1914 (28).

1868. Dante Gabriel Rossetti Painter 1828-1882 (39). La Pia de' Tolomei. Model: Alice aka Alexa Wilding Model 1847-1884 (21).

1868. Dante Gabriel Rossetti Painter 1828-1882 (39). Study for La Pia de' Tolomei. Model: Alice aka Alexa Wilding Model 1847-1884 (21).

1869. Dante Gabriel Rossetti Painter 1828-1882 (40). Mrs William Morris aks Jane Morris nee Burden Model 1839-1914 (29).

Letters of Christina Rossetti 1869 Letter 380. 56 Euston Square, N.W.

Friday afternoon, 14th. [May 1869]1

My dear Miss Boyd (44)

Thank you warmly for so exceedingly kind an invitation, concerning which I will only put forward one regret, that Mrs Epps [Note. Not clear who Mrs Epps is since Laura Theresa Epps Painter 1852-1909 (17) didn't marry Lawrence Alma-Tadema Painter 1836-1912 (33) until 1871] should lose what might so have refreshed her both in mind and in body. And indeed, if I may, I will say that should it after all turn out that she could visit lovely Penkill you will without hesitation let me know your altered plans to which I shall most readily conform mine. On the other hand if I go, it will be a special indulgence to travel with the Scotts [Note. William Bell Scott Painter 1811-1890 (58) and Letitia Margery Norquoy] and as you give me so generous a latitude I will even feel housed at the Castle until a companion offers with whom to start south again;—the journey being somewhat formidably lengthy. But this, of course, only in case it brings my visit within not altogether unreasonable dimensions. How very kind you are to me, and how much I should like to make my gratitude obvious to you. Knowing what a Dear Mrs Scott is, I think she will kindly let me know her plans in due course: meanwhile I expect to run down to Gloucester next week on a little visit to my Uncle if he will have me, but to be up again in time for Penkill.

My love, please, to Mrs Scott, and a kindred sentiment to Mr Scott (58). We saw Gabriel (41) last night, but I know nothing at all about his summer plans.2

My [his mother] Mother (69) desires her most cordial remembrances to you, and adds her thanks to mine on my behalf.

Always and affectionately yours

[his sister] Christina G. Rossetti (38).

I expect you will find me quite a different order of being this year as regards walking, and I mean to trim up my old hat for possible croquet.

1. Endorsed: "1867." CGR returned to Penkill in 1869, from 9 June to 22 July, not in 1867.

2. DGR (41) was at Penkill from mid-August to 20 September.

1862. Dante Gabriel Rossetti Painter 1828-1882. Portrait of Alice Boyd Painter 14th Lord Penkill 1825-1897. Around 1891. Lawrence Alma-Tadema Painter 1836-1912. 1876. Lawrence Alma-Tadema Painter 1836-1912. Portrait of Laura Theresa Epps Painter 1852-1909. After Jul 1871. Catherine Emily Brown Painter 1850-1927. Portrait of Laura Theresa Epps Painter 1852-1909. 1866. Dante Gabriel Rossetti Painter 1828-1882. Drawing of Christina Georgina Rossetti 1830-1894.

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Letters of Christina Rossetti 1867 Letter 387. 56 Euston Square, London, N.W.

Thursday afternoon. [August 1869]

My dear Alice (44)

You who are lady of castle and lands, and deal justice not only to man and maid but likewise to fish and fowl, might be amused to witness the painstaking responsibility and toil with which I keep house for two. This arduous housekeeping added to my habitual labours and enterprises must explain your kind letter’s having waited awhile for its answer; its enclosed plume of fluff1 fans the flame of my grateful remembrance of you and Penkill,—not that this needed fanning.

Please thank Mr Scott (58) for the note which puts my scrap to the blush, and assure him that if a second creative moment unlocks the lips of Sir Bedavere2 the golden utterance will reach Maria (42) whether addressed to her in Euston Sq., or at 3 Copt Hall Place—Folkestone.

It is a blameless triumph that a letter reached you on Tuesday morning. I hope the oldest inhabitant continues to thrive, and that if the crabb—dear me! I have turned him into ½ a poet!3—if the crab’s position becomes too pitiable he may regain freedom and peace in his native sea. Aunt Eliza was delighted with the weed we picked up together, and cannot have had such a haul I know not when.—Mrs Scott shared with me the enjoyment of your letter last Saturday when I had the pleasure of lunching with her at Notting Hill. She looked and seemed well. Now I am hoping, but not with confidence, that she will say "yes" and meet the Edgcomes4 at tea here next Saturday. These mutual friends are migrating to the immediate neighbourhood of Oxford with an eye to retrenchment, and have promised to make two at a peculiarly festive festivity which may call together no more than themselves and Aunt Eliza to honour my teaboard;—for Mrs Scott may say "no", and [his brother] William (39) may have flitted to Folkestone for a glimpse of our Mother. Gabriel (41) le désiré has asked people to dine with him tomorrow, so presumably he cannot at once be exchanging Chelsea for lovely Penkill;—but I merely infer.—I hope the red lady and her blossoming bower grace and enhance each other;— and that the S.K. windows are progressing to the satisfaction both of blue-eyes and light-(!)-eyes; not to the production of a permanent "Grecian bend".5—William has read me his life of Shelley,6 in which I find matter to interest me and impartiality to admire. Certainly impartiality is not a feminine virtue.—Poor ducklings suggestive of green peas! Perhaps the gentleman who discerned in you a "dear girl" might also view you as a "duck"—and thus make you a cannibal.

1. The enclosure does not remain with the letter.

2. CGR’s allusion here is obscure.

3. George Crabbe was one of CGR’s favorite poets.

4. Not identified.

5. The first reference is to the paintings illustrative of The King’s Quair, in process when CGR was first at Penkill in 1866 and completed by her second visit in June of 1869; the second is to WBS’s stained-glass windows for the Ceramic Gallery of the South Kensington Museum (Bornand, p. 145 n. 1). "Blue-eyes and light-(!)-eyes" probably refer to Alice Boyd and Letitia Scott. "Grecian Bend" remains obscure.

6. See letter no. 373, n. 2.

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In Oct 1869 Dante Gabriel Rossetti Painter 1828-1882 (41) exhumed the remains of [his former wife] Elizabeth Siddal Model 1829-1862 (40) to retrieve the book of poems he had placed in her coffin seven years previously. He published the works the following year.

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Portrait of Maria Terpsithea Cassavetti Model 1843-1914 (26).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). "A Vision of Fiammetta". Model Marie Spartali aka Stilman Painter 1844-1927 (25).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Mariana. The bottom of the fram has these words from Shakespeare's Measure for Measure "Take, O Take those lips away, That so sweetly were forsworn, And those eyes, the break of day, Lights that do mislean the morn. But my kisses bring again, bring again, Seals of love, but sealed in vain, sealed in vain." Model Jane Morris nee Burden Model 1839-1914 (30).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Head Study for Dante's Dream. Model Marie Spartali aka Stilman Painter 1844-1927 (25).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Portrait of Marie Spartali aka Stilman Painter 1844-1927 (25).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Portrait of Maria Terpsithea Cassavetti Model 1843-1914 (26).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). La Donna della Fiamma aka The Woman of Flames. Model Jane Morris nee Burden Model 1839-1914 (30).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Study for Dante's Dream. Model: Alice aka Alexa Wilding Model 1847-1884 (23).

1870. Dante Gabriel Rossetti Painter 1828-1882 (41). Study for Dante's Dream. Model: Alice aka Alexa Wilding Model 1847-1884 (23).

1871. Dante Gabriel Rossetti Painter 1828-1882 (42). Pandora. Holding the box - see Hesiod's Works and Days Lines 83 to 108 lines 90-94. Model Jane Morris nee Burden Model 1839-1914 (31).

1871. George Frederick Watts 1817-1904 (53). Portrait of Dante Gabriel Rossetti Painter 1828-1882 (42).

1871. Dante Gabriel Rossetti Painter 1828-1882 (42). Dante's Dream at the Time of the Death of Beatrice. Models: Beatrice: Jane Morris nee Burden Model 1839-1914 (31), far left Alice aka Alexa Wilding Model 1847-1884 (24), far right Annie Miller Model 1835-1925 (36).

Between 1872 and 1873. Dante Gabriel Rossetti Painter 1828-1882 (43). Study for Lilith's Head. Model probably Alice aka Alexa Wilding Model 1847-1884 (25).

1872. Dante Gabriel Rossetti Painter 1828-1882 (43). Veronica Veronese. Model Alice aka Alexa Wilding Model 1847-1884 (25).

1872. Dante Gabriel Rossetti Painter 1828-1882 (43). The Bower Meadow. Models Alice aka Alexa Wilding Model 1847-1884 (25) right in green, Marie Spartali aka Stilman Painter 1844-1927 (27) left in red.

1873. Dante Gabriel Rossetti Painter 1828-1882 (44). La Ghirlandata. Model: Alice aka Alexa Wilding Model 1847-1884 (26). Mary "May" Morris Model 1862-1938 (10) modelled for the heads in the corners.

1874. Dante Gabriel Rossetti Painter 1828-1882 (45). Damsel of the Sanct Grael. Model Alice aka Alexa Wilding Model 1847-1884 (27).

1874. Dante Gabriel Rossetti Painter 1828-1882 (45). Roman Widow. Model Alice aka Alexa Wilding Model 1847-1884 (27).

1874. Dante Gabriel Rossetti Painter 1828-1882 (45). Portrait of his sister-in-law Emma Lucy Madox Brown Painter 1843-1894 (30).

From 1874 and 1876. Dante Gabriel Rossetti Painter 1828-1882 (45). Portarit of Clara Vaughan Morgan.

1874. Dante Gabriel Rossetti Painter 1828-1882 (45). Alexa Wilding. Model Alice aka Alexa Wilding Model 1847-1884 (27).

Between 1875 and 1878. Dante Gabriel Rossetti Painter 1828-1882 (46). The Blessed Damozel. Models centre Alice aka Alexa Wilding Model 1847-1884 (28), probably left-hand angel Mary "May" Morris Model 1862-1938 (12).

1875. Dante Gabriel Rossetti Painter 1828-1882 (46). Study for La Bella Mano aka The Beautiful Hand. Model Alice aka Alexa Wilding Model 1847-1884 (28).

1875. Dante Gabriel Rossetti Painter 1828-1882 (46). Study of Mrs William Morris aka Jane Morris nee Burden Model 1839-1914 (35).

1875. Dante Gabriel Rossetti Painter 1828-1882 (46). La Bella Mano aka The Beautiful Hand. Model Alice aka Alexa Wilding Model 1847-1884 (28).

1876. Dante Gabriel Rossetti Painter 1828-1882 (47). Drawing of Louisa Ruth Herbert Actor Model 1831-1921 (45).

Letters of Christina Rossetti 1876 Letter 695. [Late November 1876]

My dear Alice (51)

You will not, will you? grudge me the pleasure of answering your note of loving remembrance. Every word of sympathy & of affectionate remembrance of our dear Maria (49) goes to my Mother’s (76) & my heart; & such words have poured in upon us, & have assured us that a widening circle has felt the thrill of our loss.

I am so glad you are seeing & hearing from Gabriel (48) again:1 every dear person gone out of sight brings out the preciousness of those who remain.

My Mother sends you her love, & I send you mine. And recollecting old Penkill2 delights & all your kindness to me always, I claim the right to sign myself both

Your grateful & affectionate

[his sister] Christina G. Rossetti (45).

1. After his collapse and attempted suicide in 1872 DGR (48) became increasingly paranoid, suspicious even of many old friends, including the W. B. Scotts and Alice Boyd.

2. DGR (48) paid long visits to AB’s home in Scotland, Penkill Castle, during the summers of 1866 and 1869.

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1877. Dante Gabriel Rossetti Painter 1828-1882 (48). Drawing of Louisa Ruth Herbert Actor Model 1831-1921 (46).

1877. Dante Gabriel Rossetti Painter 1828-1882 (48). "Proserpine. Model Jane Morris nee Burden Model 1839-1914 (37).

1877. Dante Gabriel Rossetti Painter 1828-1882 (48). Astarte Syriaca. Model Jane Morris nee Burden Model 1839-1914 (37).

1877. Dante Gabriel Rossetti Painter 1828-1882 (48). Portraits of the artist's sister and mother [his sister] Christina Georgina Rossetti 1830-1894 (46) and Frances Mary Lavinia Polidori 1800-1886 (76)

1877. Dante Gabriel Rossetti Painter 1828-1882 (48). A Sea-Spell. Model Alice aka Alexa Wilding Model 1847-1884 (30).

1879. Dante Gabriel Rossetti Painter 1828-1882 (50). Alexa Wilding. Model Alice aka Alexa Wilding Model 1847-1884 (32).

1880. Dante Gabriel Rossetti Painter 1828-1882 (51). "The Daydream". Model Jane Morris nee Burden Model 1839-1914 (40).

1880 to 1882. Dante Gabriel Rossetti Painter 1828-1882 (51). "The Salutation of Beatrice". Model Jane Morris nee Burden Model 1839-1914 (40).

1881. Dante Gabriel Rossetti Painter 1828-1882 (52). Joan of Arc. Model Jane Morris nee Burden Model 1839-1914 (41).

1881. Dante Gabriel Rossetti Painter 1828-1882 (52). La Donna della Finestra aka The Woman at the Window. Model Jane Morris nee Burden Model 1839-1914 (41).

Before 1882. Dante Gabriel Rossetti Painter 1828-1882 (53). Portrait of Maria Hedley.

On 09 Apr 1882 Dante Gabriel Rossetti Painter 1828-1882 (53) died. He was buried at All Saints Church Birchington on Sea. There is a Celtic Cross marking his grave commissioned by his mother [his mother] Frances Mary Lavinia Polidori 1800-1886 (81), designed by Ford Madox Brown Painter 1821-1893 (60) and erected in the presence of his brother William Michael Rossetti Author 1829-1919 (52) and sister Christina Georgina Rossetti 1830-1894 (51) as written on the base of the cross.

Letters of Christina Rossetti 1882 Letter 1052. 30, Torrington Square, London. W.C.

October 23. 1882.

My dear Alice (57)

I think you will read my letter with both pleasure and pain. My dearest [his mother] Mother (82) sends love to you and hopes it will please you to accept from her a trifling remembrance of your dear friend who so truly admired you, our own Gabriel (54). Among a few things yesterday divided between herself and William (53) is the brass plate of a sundial—perhaps the very one in the old Cheyne Walk garden—about 5 1/2 inches square. It has its 4 corner-screws all ready to work into stone or tree-stump and is (so far as I can perceive) quite perfect in condition. May we send it you down to Penkill?—and think of it as marking time somewhere in the beautiful place where you and Miss Losh2 cared for himself and for his health so kindly.

Send me a consenting word, please. Then my Mother will have the major gratification of presenting, and I the minor gratification of packing.

Always

Your affectionate friend

[his sister] Christina G. Rossetti (51).

Alice Boyd (1825–97) was the companion of William Bell Scott and his wife Letitia until his death. When AB’s brother died in February of 1865, she inherited Penkill Castle, which both DGR and CGR visited during the 1860s. AB was introduced to CGR late in 1847 or early in 1848. Their subsequent friendship remained strong until CGR’s death.

2. AB’s half sister. See letter no. 1299, n. 1.

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Sestina of the Lady Pietra degli Scrovigni. Sestina of the Lady Pietra degli Scrovigni is a poem by Dante Alighieri Poet 1265-1321 translated by Dante Gabriel Rossetti Painter 1828-1882.

To the dim light and the large circle of shade

I have clomb, and to the whitening of the hills,

There where we see no color in the grass.

Natheless my longing loses not its green,

It has so taken root in the hard stone

Which talks and hears as though it were a lady.

Utterly frozen is this youthful lady,

Even as the snow that lies within the shade;

For she is no more moved than is the stone

By the sweet season which makes warm the hills

And alters them afresh from white to green

Covering their sides again with flowers and grass.

When on her hair she sets a crown of grass

The thought has no more room for other lady,

Because she weaves the yellow with the green

So well that Love sits down there in the shade,–

Love who has shut me in among low hills

Faster than between walls of granite-stone.

She is more bright than is a precious stone;

The wound she gives may not be healed with grass:

I therefore have fled far o’er plains and hills

For refuge from so dangerous a lady;

But from her sunshine nothing can give shade,–

Not any hill, nor wall, nor summer-green.

A while ago, I saw her dressed in green,–

So fair, she might have wakened in a stone

This love which I do feel even for her shade;

And therefore, as one woos a graceful lady,

I wooed her in a field that was all grass

Girdled about with very lofty hills.

Yet shall the streams turn back and climb the hills

Before Love’s flame in this damp wood and green

Burn, as it burns within a youthful lady,

For my sake, who would sleep away in stone

My life, or feed like beasts upon the grass,

Only to see her garments cast a shade.

How dark soe’er the hills throw out their shade,

Under her summer green the beautiful lady

Covers it, like a stone cover’d in grass.

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Dante Gabriel Rossetti Painter 1828-1882 lived at 16 Cheyne Walk.