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HAMLET AND OPHELIA XXX VENUS VERTICORDIA XXXI FORD MADOX BROWN XXXII MISS SIDDAL XXXIII DANTE GABRIEL ROSSETTI XXXIV STUDY FOR QUEEN GUINEVERE XXXV STUDY FOR DESDEMONA'S DEATH SONG XXXVI SIR LAUNCELOT IN THE QUEEN'S CHAMBER XXXVII STUDY FOR LA DONNA DELLA FINESTRA XXXVIII STUDY FOR DANTE'S DREAM XXXIX THE GATE OF MEMORY XL STUDY FOR THE BLESSED DAMOZEL XLI HOW THEY MET THEMSELVES XLII THE LADY OF THE GOLDEN CHAIN XLIII THE DEATH OF LADY MACBETH XLIV MRS. WILLIAM MORRIS XLV STUDY FOR DANTE XLVI DESIGN FOR A BALLAD XLVII THE PARABLE OF THE VINEYARD XLVIII

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Transcriber Notes:
The caption on Plate XXXIII was changed to FORD MADOX BROWN.
The caption on Plate XXXV was changed to STUDY FOR QUEEN GUINEVERE.
In LIST OF ILLUSTRATIONS, changed MR. WILLIAM MORRIS to MRS. WILLIAM MORRIS.

THE DRAWINGS OF
D. G. ROSSETTI

BY T. MARTIN WOOD

THE intensely subjective nature of Rossetti's art is what gives it fascination for its lovers; it belonged to himself. Even in his early period and with his dramatic subjects this was so, and partly by the depth of imaginative meaning he read into the faces of women. The last phase of his art was entirely one of self-revelation; his own moments of sorrow were mirrored in one woman's face, moments in which he created sadly, living over again in them some hours that had been happy.

One might hazard the question whether it were possible for a painter such as Rossetti, seeking expression in his art for this intensity of feeling, to vie in the rendering of the external aspects with those painters who have approached life with that cold acuteness to the appearance of things and aloofness from their meaning characteristic of work that has contributed largely to the actual science of painting. To Rossetti life came over-crowded, over-coloured. There was too much for him to realise in his working moments. The very richness of his nature embarrassed his output. His gifts gave him so many ways of self-expression from which to choose. The phases through which his genius passed, the result of an inherited and rare temperament and its adventures, made the science of painting prosaic for him. He himself felt latterly that this impatience had left his ideas pathetically at the mercy of his materials. Apart from the quality in colour to which he attained, one is conscious always in his paintings of the tragedy of genius striving for expression through an ineffectual technique. Rossetti's individuality, however, was so strong that it stamped itself everywhere; in spite of every limitation his art explains his attitude towards life. In his ability to make it show this his greatness lies, and in the fact that the point of view that it suggested was his alone. His art created for itself its own atmosphere—an unfamiliar