t degree one of
the influences which guided that movement: the intimate intertexture
of a spiritual sense with a material form; small actualities made
vocal of lofty meanings.

{2} I may call attention to Stanza 16, "She stooped an instant." The
word is "stooped" in "The Germ," and in the "Poems" of 1870. This is
undoubtedly correct; but in my brother's re-issue of the "Poems,"
1881, the word got mis-printed "stopped"; and I find the same
mis-print in subsequent editions.

By Dante G. Rossetti: "Hand and Soul." This tale was, I think,
written with an express view to its appearing in No. 1 of our
magazine, and Rossetti began making for it an etching, which, though
not ready for No. 1, was intended to appear in some number later than
the second. He drew it in March 1850; but, being disgusted with the
performance, he scratched the plate over, and tore up the prints. The
design showed Chiaro dell' Erma in the act of painting his embodied
Soul. Though the form of this tale is that of romantic metaphor, its
substance is a very serious manifesto of art-dogma. It amounts to
saying, The only satisfactory works of art are those which exhibit
the very soul of the artist. To work for fame or self-display is a
failure, and to work for direct moral proselytizing is a failure; but
to paint that which your own perceptions and emotions urge you to
paint promises to be a success for yourself, and hence a benefit to
the mass of beholders. This was the core of the "Praeraphaelite"
creed; with the adjunct (which hardly came within the scope of
Rossetti's tale, and yet may be partly traced there) that the artist
cannot attain to adequate self-expression save through a stern study
and realization of natural appearances. And it may be said that to
this core of the Praeraphaelite creed Rossetti always adhered
throughout his life, greatly different though his later works are
from his earlier ones in the externals of artistic style. Most of
"Hand and Soul" was written on December 21, 1849, day and night,
chiefly in some five hours beginning after midnight. Three currents
of thought may be traced in this story: (1) A certain amount of
knowledge regarding the beginnings of Italian art, mingled with some
ignorance, voluntary or involuntary, of what was possible to be done
in the middle of the thirteenth century; (2) a highly ideal, yet
individual, general treatment of the narrative; and (3) a curious
aptitude at detailing figments as if they were