o dwell, as she does with equal good will, among modern
appliances in London and New York."

[1] See vol. i., chaps. iv. and vii., "The Landscape Poets" and "The
Gothic Revival."

[2] This was the organ of the Pre-Raphaelites, started in 1850. Only
four numbers were issued (January, February, March, April), and in the
third and fourth the title was changed to _Art and Poetry_. The contents
included, among other things, poems by Dante Gabriel and Christina
Rossetti. One of the former's twelve contributions was "The Blessed
Damozel." The _Oxford and Cambridge Magazine_, which ran through the
year 1856 and was edited by William Morris and Edward Burne-Jones, was
also a Pre-Raphaelite journal and received many contributions from
Rossetti.

[3] The foreign strain in the English Pre-Raphaelites and in the painters
and poets who descend from them is worth noting. Rossetti was
three-fourths Italian. Millais' parents were Channel Islanders--from
Jersey--and he had two mother tongues, English and French. Burne-Jones
is of Welsh blood, and Alma Tadema of Frisian birth. Among
Neo-Pre-Raphaelite poets, the names of Theophile Marzials and Arthur
O'Shaughnessy speak for themselves.

[4] Let the reader consult the large and rapidly increasing literature on
the English Pre-Raphaelites. I do not profess to be a very competent
guide here, but I have found the following works all in some degree
enlightening. "Autobiographical Notes of William Bell Scott," two vols.,
New York, 1892. "English Contemporary Art." Translated from the French
of R. de la Sizeranne, Westminster, 1898. "D. G. Rossetti as Designer
and Writer." W. M. Rossetti, London, 1889. "The Rossettis." E. L.
Cary, New York, 1900. "Dante Rossetti and the Pre-Raphaelite Movement."
Esther Wood, New York, 1894. "Pre-Raphaelitism." J. Ruskin, New York,
1860. "The Pre-Raphaelite Brotherhood." Holman Hunt in _Contemporary
Review_, vol. xlix. (three articles). "Encyclopaedia Britannica,"
article "Rossetti." by Theodore Watts. Of course the standard lives and
memoirs by William Rossetti, Hall Caine, William Sharp, and Joseph
Knight, as well as Rossetti's "Family Letters," "Letters to William
Allingham," etc., afford criticisms of the movement from various points
of view. Lists of Rossetti's paintings and drawings are given by several
of these authorities, with photographs or engravings of his most famous
masterpieces.

[5] "Lectures on Architecture and Pai