A PSYCHOLOGICAL OUTLINE OF THE ROSSETTI-SIDDAL RELATIONSHIP WITHIN THE FRAMEWORK OF THE PRE-RAPHAELITE BROTHERHOOD A ROSSETTI-SIDDAL KAPCSOLAT PSZICHOLGIAI VZA

A PRERAFFAELITA TESTVRISG KONTEXTUSBAN BA thesis

Bernadett Kiss Supervisor: Boldizsr Fejrvri

2010

TABLE OF CONTENTS

INTRODUCTION 1 ROSSETTI, THE KEY FIGURE 4 THE BROTHERHOOD 11 Synthesis through tHE SID 21 Bibliography 32

Kiss 1

INTRODUCTION

In the middle of the nineteenth century a group of young artists formed a secret society in Britain with the idealistic notion of reforming the contemporary standards of fine art, introduced by the Royal Academy of Arts. Their revolutionary initiative caused a great uproar in higher artistic circles, who interpreted it as disrespectful and pompous, which resulted in a scandal shaking up Victorian London. The group called itself Pre-Raphaelite Brotherhood.1 The choice of their name was actually their credo, which is why they want a reform. The academys ideals and expectations at the time were built either on Raphaels classicist style, at which the Pre-Raphaelite Brotherhood although they respected it looked as it was based on rigid codes and so being false, and by following these, art would become too stylized; or on the other Grand Manner, Romanticism, represented by Constable and Turner, which used to idealise nature and beauty. Instead of trying to fit in between the narrow margins of the academy, the PreRaphaelite Brotherhood wanted a change. They chose new subjects, provoking imagination and thought, such as biblical or medieval stories, or works of their favourite artists. They created a list of Immortals, those characters and persons who were their main inspiration, for example Jesus, Chaucer, Tennyson, Browning, King Arthur, Byron, Keats, and Botticelli. They appreciated intensive colours in the paintings and the direct observation of nature to create a real, more than an idealised impression of the place, but also used a great amount of symbolism, and elaborated systems of symbols within each picture.2 The grounding of the brotherhood is connected primarily to the name of Dante Gabriel Rossetti, an ambitious young artist. He and his two fellow artists from the Royal
1 2

Landow: Overview. Hawksley (2008:20-21).

Kiss 2 Academy, William Holman Hunt and John Everett Millais formed the core of the brotherhood, which quickly became expanded to other members from artistic circles. 3 Rossetti himself was a painter, but he had literary interests also, which reinforced the brotherhoods two-sided artistic profile, namely that they are significant both in literary and art history. Being a self-confident, talented, idealistic youth, who had revolutionary notions of arts, life, and love, Rossetti attracted friends and followers, which enabled him to motivate and keep together a group of people, such as the brotherhood.4 And the fact, that he was also handsome, made him attractive to many women, but from all of them, one is the most significant, who made the greatest impact on Rossettis and the Pre-Raphaelites life.5 Her name was Elizabeth (Lizzie) Siddal, who became the first adored model of the PreRaphaelites and the number one muse of Rossetti. Although the brotherhood was not really popular in its age, rather it was harshly criticised and it lasted just for a shorter period of time, the Pre-Raphaelites left a considerable impression on the English literary and art world. They contributed to the history of fine art with paintings like Millaiss Ophelia (1852)6, or Rossettis Beata Beatrix (1864),7 and to literature with poems especially by the Rossettis Gabriel, William and Christina and also William Morris or Algernon Charles Swinburne, and with their influence on later authors like Oscar Wilde or William Butler Yeats.8

This could be the very short story of the life and significance of the Pre-Raphaelite Brotherhood itself. But the story has many deeper layers to analyse. This page will investigate the background mechanics of the creation of the brotherhood, the roles and
3 4

Weintraub (1977:29-31). Weintraub (1977:20). 5 Hawksley (2008:28). 6 Curnow. 7 McGann, Beata Beatrix. 8 Landow: Pre-Raphaelitism in Poetry.

Kiss 3 inter-group relations among the brethren, Rossettis personality and his effect on the others, Siddals role and her problematic relationship with Rossetti, which also had an effect on the whole movement. In this essay I will to discuss the Pre-Raphaelite Brotherhoods interesting life with a psychological approach, considering personalities, defects, motivations and possible illnesses, influencing some of the most important points in the movements and its members history, based on details about their lives and their works. In the first part I will sketch out Rossettis character, with special attention to those details which had an effect on his career and relationships. I see him as a very complicated personality with many mental troubles, which enable him more to be the key figure of his circle than his indubitable individual talent. He was the motive force, the key figure in the whole movement, although his nature would not predestine him to be a good leader. Then I will discuss the history of the founding and the working of the PreRaphaelite Brotherhood, considering the main roles and relations between its members. What was it that held them together? How did their community work? Their name, brotherhood, and the introduction above suggest a group that is very serious, secret, mysterious and of course based on highly romantic ideas, but my analysis approaches them rather as a group of teenagers which actually they were who form a secret club or a band, just like in our time. My last but perhaps most interesting and complicated point will be the Rossetti-andSiddal relationship. It is important on the level of the brotherhood also, but it is more fascinating on a personal level, and this is why I will concentrate on this. Their relationship sounds complicated enough at first, but in greater detail it becomes even more and more complicated as it was full of contradictions and, after years of sitting on an emotional and mental rollercoaster, finally it resulted in total collapse and chaos.

Kiss 4

ROSSETTI, THE KEY FIGURE

Dante Gabriel Rossetti (1828-1882) was born to an Anglo-Italian family. His father, Gabriele Rossetti arrived in England in 1824 as an exile from Italy. In England he met and married Frances Polidori, a young governess from a half-English, half-Italian family. Four children were born to them, Maria, Gabriel, Christina and William.9 In Dante Gabriel Rossettis life and personality his family background is determinative on several levels; this is why I will write about them in more detail. The Rossettis were a well-educated family, occupying a higher social than a financial status.10 Frances taught languages to private pupils and Gabriele was a university professor of Italian literature in London. This and their Italian origin resulted in many acquaintances, especially with persons from higher cultural circles. Their house was usually full of artists, musicians, and writers.11 In such an environment were the children raised, and as might be expected, this heavily influenced them. All of them wrote, read and draw or painted from a very early age, and except for William, they all showed some artistic talent. Rossetti was a rebellious child but also one with a vivid fantasy and interest both in literature and painting. Soon he decided that he will be an artist, although he could not tell what kind. But as a choice it seemed to be suitable as Gabriel had a tendency, just like his father, to leave reality for a world of his own fantasy. The old Gabriele and his son shared several characteristics, especially those connected to fantasy, obsession and schizophrenia. I do not have records about diagnosed schizophrenia in the Rossetti family but the hallucinations and delusions that father and son both had, especially during their later years, and the very narrow margin which separated,
9

Weintraub (1977:2-4). Hawksley (2008:9). 11 Weintraub (1977:3).

10

Kiss 5 or sometimes even did not separate, reality from their fantasy,12 may suggest that they both had schizophrenic episodes in their lives.13 For instance, the professors obsession with his theme of research, Dante Alighieri (1265-1321), the medieval Italian poet, reached an extreme level, which later led to hallucinations about Dante. These can be the symptoms of schizophrenia, known as psychotic episodes.14 His readings of Dantes works were also suspiciously occult and paranoiac. The professor had really poor health, not just physically but also mentally, which I think Rossetti inherited. As Gabriele Seniors sight deteriorated, he claimed that he saw Dante in his room. These hallucinations and his fathers enthusiasm towards Dante had a great effect on young Gabriel, who was not only fond of Dante but also believed to see strange things in his fathers room, namely a ghostly form of Dante himself, lights and other unnatural phenomena.15 It seems that a schizophrenic line was launched by the professor, which appeared in Gabriel also, considering not just the hallucinations, but also paranoid delusions, for which we can find examples in Gabriels later years, after the exhumation of his wife.16 Very soon he also became obsessed with Dante, just like his father. He read all of Dantes works and they gave him inspiration; he knew the detailed story of his life; and he felt a strange connection between the two of them, even by their name, Dante. Dante became his ideal.17 As psychology describes the process of idealization, it is not merely over-estimating something we want or desire, but we can also idealize things we have for the simple fact that it is ours. The basis of Rossettis interest in Dante was their common

12 13

Weintraub (1977:2-3). Spearing. 14 Spearing. 15 Weintraub (1977:6). 16 Mondragon. 17 Hawksley (2008:25-26).

Kiss 6 name, but he developed a weird enthusiasm towards Alighieris whole character and his romantic tragedy, or he rather identified with him. The most important part of the Dante story, which I assume had the greatest effect on Rossettis notions about relationships, is the unrequited love that he felt for his lady, Beatrice. Alighieri was desperately in love with her. He wrote poems about her, and was next to her almost in her whole life. It was not sure, whether his love was meant to be unrequited but he hid it from Beatrice, so the woman had no idea about Dantes admiration. Her wedding day was fatal to the man, not out from the obvious reason that he loved her. But when he turned away in pain, it was taken as an offence by Beatrice, who from that time refused to talk to him, making Dante, who also got married, only the more miserable. This period of resentment did not last for long, because Beatrice fell ill and died very early, at the age of 24. But Dantes feelings, strangely, became more intense after her death. Over the years he fell deeper and deeper in love and this continued until his death. He created a saintly figure from Beatrice, raising his love and suffering to the level of a Greek tragedy.18 This romantic story, full of passion, desire and pain, was very appealing to Rossetti. He had originally associated himself with Dante, but this just made his picture as a romantic hero more refined. He seemed to draw the conclusion from Dantes case that true love is strongly connected to pain. It is passionate if it is painful. It gives artistic inspiration if it hurts. Because pain is also a great breeding ground for art. He admired this tragic love story for its passion, romantic suffering, and as an ideal source of art. 19 So he wanted to realize it in his own life. Love, art and pain constituted a weird triangle in Rossettis mind. As a young PreRaphaelite, he lived without the earthly pleasures of the moment, waiting for his true muse, although this would not be the typical behaviour of a young and handsome artist.20 We can
18 19

Hawksley (2008:26-27). Hawksley (2008:26). 20 Weintraub (1977:43).

Kiss 7 conclude from this that women carried greater significance for him than simply being partners. In his short story of 1849, Hand and Soul, art and women, as a means to worship beauty, are joined, and while the hero, Chiaro, who can be identified with Rossetti,21 tries to devote himself exclusively to his works as an escape from love and passion as distractions, his capability to paint is weakened by awakening and unsatisfied sexual passion.22 For Rossetti, art and love were strongly connected, and that is why it was important to find a woman whom he loved not just as a love object, but also as a piece of art. However, the waiting was worth, because he could finally manage to possess an own Beatrice, who could also manifest his ideals and be his ultimate muse. She was Lizzie Siddal. The other part of the triangle is pain, which Rossetti connected to love and then it might become the source of art. In one way this is possible if his love is unrequited. The other is the loss of a beloved. Rossetti was interested in death, especially how the living suffered when they lost their beloved. A perfect example for this is one of Rossettis most popular poems, The Blessed Damozel, which was influenced by Edgar Allan Poes The Raven.23 Both poems involve the death of the beloved, although from different perspective, and creating a very different mood. In Rossettis version it is the deceased woman, who is missing her lover from the otherworld. Here the emphasis is also on the parting of the lovers due to death.24 But the loss of the beloved appeared in his works not just dealing with the romantic type of love, but also the love between family members, although they were still different genders. In his poem, My Sisters Sleep25, he describes the pain of her brother and mother due to the loss of the girl.26 It is clear that with such an idealistic nature Rossetti could hardly become anything else than an artist. But it was a question what kind of artist he should be, because his
21 22

McGann, Hand and Soul. Weintraub (1977:45-46). 23 Weintraub (1977:24). 24 Rossetti, Dante Gabriel: The Blessed Damozel. 25 Rossetti, Dante Gabriel: My Sister's Sleep. 26 Marecki.

Kiss 8 interest still undulated between painting and writing, as the beginning of a life-long artistic schizophrenia.27 As a teenager he was moderately talented in painting, and more outstanding in literary competencies, such as an exceedingly wild imagination bordering on psychosis but he gained admittance to the preparatory school of and, subsequently, to the Royal Academy of Arts, and started his artist career in earnest. But he did not really care about it as much as he should, his enthusiasm declined rapidly. He soon became bored with the set and schematic painting exercises. He preferred paintings of his own imagination. That is why he often skipped from his classes.28 He was the one in the family who could do whatever he wanted through his whole life; the one who did not really feel the responsibility to support the others, or even himself, by earning money. He always depended on the generosity of the members of his family, especially his younger brother, William, who, despite of his lack of talent in arts, was much more talented in business matters. When old Gabrieles health started to decline and reached a point where he could no longer lecture at the university, Frances and the children had to take jobs. Frances and Christina tutored pupils in languages, Maria became a governess, and William got work in an office.29 The only one who could not be in charge for anything was Gabriel but he was not really expected to do so either, the others somehow turned a blind eye to his exemption. And this skill was his power: Rossetti could achieve what he wanted by gaining the love and support of people. Although he was not a hard-working man, somehow he could always manage to get the best out of things and people. Due to his boredom of the painting methods at school and the fact that he needed tutoring to gain expertise in the technique of painting, he decided to learn from people of his choice. His first private teacher was Ford Maddox Brown in 1848, who was not a successful painter, but Rossetti admired him. However, there was a
27 28

Weintraub (1977:22). Mondragon. 29 Weintraub (1977:12).

Kiss 9 tendency in Rossettis life that would reverse the direction of admiration: he got bored of his masters, but they decided to follow him. This happened to Maddox Brown also, who remained the friend of Rossetti and a future Pre-Raphaelite. His next teacher was a student from the academy, William Holman Hunt, who also ended under Rossetti but became a core member of the brotherhood.30 In 1848, the year of the birth of the Pre-Raphaelite Brotherhood, Rossetti was a 20year-old young man, studying to be a painter at the Royal Academy of Arts, but also coquetting with a career in literature. He was enthusiastic, but his enthusiasm was not persistent, he could not easily decide over things. He was very imaginative, wont to be carried away from reality, even in the form of hallucinations that might be the first signs of a heritage of schizophrenia from his father. This is, in addition to the mentioned symptoms, supported by the fact that the first signs of schizophrenia usually appear in men around the age of twenty.31 He was also a desperately romantic type who was admiring beauty, especially the beauty of a woman, and unlike many young men, he was waiting for the great love. He liked the idea of pain, due to losing the beloved or in the form of unrequited love, which he developed primarily from the story of his ideal, Dante, and his dramatic love tragedy with Beatrice. He also had a tendency of fanaticism, which he now laid into art and romantic ideas, but later he would turn to the Sid his beloved Elizabeth Siddal. He also attracted friends and followers, although he was not a reliable man. He could not even take care of himself or support his family and always lived on the financial help of others. He was lazy in the sense that he refused to find a job and also organised his time freely at the university. If he got bored, which he easily did, he left and started

30 31

Weintraub (1977:23-24). Spearing.

Kiss 10 something else. These shifts usually happened between painting and writing, but also between people. Basically I state that the others fell victim to, took part in, and sometimes benefited from Dante Gabriel Rossettis lunacy in the sense that his ideals seriously influenced his way of life and also his followers lives. He was a really enchanting personality, who could carry others with himself but could not maintain a firm basis for any further realisation of his ideas because he was the first to become bored of them. However, he managed to gather many believers around himself and to make them enthusiastic over and over again after periods of decline. This is how the Pre-Raphaelite Brotherhood was organised by him and then was working with more or less success.

Kiss 11

THE BROTHERHOOD

The Pre-Raphaelite Brotherhood came to life in 1848 and went through alternating periods of enthusiasm and resignation, although achieving not much success with the contemporary public. It was a group with ever-changing members, an unreliable leader, and not too firm principles, which even so resulted in a general hostility towards those, who were branded as Pre-Raphaelites. However, the brotherhood is still famous not only for their artistic achievements but the curious and at the same time romantic atmosphere of their movement. Considering this, the first question I would like to find an answer to is why and how they managed to maintain their community, especially until 1852, which I call the first instalment of the brotherhood.32 For this I will summarize the records of their working as a group, then with the help of social and psychological theories I will draw the outline of the brotherhood from a psychological perspective. The second thing I will discuss in this chapter is the brotherhoods approach towards women. I will mention some similarities between the brethrens treatment of women, and reach a conclusion about the possibilities of concepts they had about love and women, in comparison with the Victorian ideas. The originator of the idea of the founding was Rossetti, as it might be expected.33 The first steps towards the creation of the brotherhood were taken by him, when he got bored of Madox Browns method of painting lessons and was looking for a new teacher. Rossettis choice was another student from the academy, whom he admired, but did not personally know, and he decided to ask him to be his private tutor and help him improving his technique. This student was William Holman Hunt, who, the exact opposite of Rossetti, was very serious about his studies; actually, he was very earnest in all areas of life.
32 33

From then the PRB would become rather loose, not really functioning as an organised group. The following paragraphs about the creation of the brotherhood are based on Weintraub (1977:21-71).

Kiss 12 However, he accepted Rossetti, who was well-known for his frequent absences, as his pupil. Soon they became friends and as they met more and more, from admiring pupil Rossetti started to grow to be the dominant personality. Hunt was precise and hard-working but he tolerated Rossettis rhapsodic nature together with his laziness and unreliability. He was another victim to Rossettis personal magnetism. However, his friend, John Everett Millais, was distrustful towards Rossettis ideas. Millais was a shy and reserved character from a rich family, who proved to be the most talented among the three of them, and also among the future Pre-Raphaelites. He was also a painter from the academy, but since his childhood he had been considered to be a real prodigy. Although he did not appreciate Rossettis irrationality, he also became a partner in realising his romantic and exciting plans about a secret society, because his friend, Hunt, supported the weird half-Italian. 34 The establishment of the brotherhood was decided among the three of them.35 They drew up the List of Immortals, which became their Creed, and established what the basic governing principles of the movement will be.36 But a movement, and even a brotherhood, with only three members sounded a bit funny. So they decided to recruit staff, so to say. They were browsing among the students of the academy, and personal acquaintances, to find people with eligible qualities, to be members of their brotherhood. They found four new members in the first round later they would also add seven more, who were in need rather for the financial support for the publishing of The Germ (1849-50). The first was William, Rossettis younger brother, who would be responsible for administration, editing and publishing, and who was basically the only one with a job.37 He

34 35

Weintraub (1977:31). Weintraub (1977:29). 36 Weintraub (1977:28-29; 31). 37 Weintraub (1977:44-45).

Kiss 13 was dedicated to literature, and worked hard on his poems after working hours in the office, but he was not really talented, either in literature, or in painting; due to this, the painters used him mainly as a model. So he became the factotum of the brotherhood. Another addition was Collinson, who was not a particularly entertaining personality, but at that time he was the fianc of Christina, Rossettis sister. The other two members were students from the academy, the sculptor Thomas Woolner, a friend of Rossettis, and Frederic George Stephens, a painter from the academys Antique School, supported by Hunt and Millais. With them the first instalment of the brotherhood was born.38 There was a conflict between Hunt and Rossetti about the synthesis of the brotherhood, as Gabriel wanted people with literary interests also like Collinson while Hunt was thinking about a purely painterly society, for he had no literary interests at all. The third member of the core, Millais, was not enthusiastic at all about this society of inexperienced artists, which he called a motley group. He was still present on behalf of his friend, Hunt, not for the ideologies that he even found dangerous and he was right. The four new members were introduced to the rules of the Pre-Raphaelite Brotherhood by Hunt. He explained their principles then made them accept the List of Immortals and the importance of keeping secret, and finally that they have to the initials of the brotherhood, P. B. R., to their signatures on every artistic work they produce.39 Then they held monthly meetings in each others apartments with William as secretary sat for each others paintings, and provided inspiration for each other. Inspiration was mainly the task of Gabriel, whose word still was not worth anything: he always failed to finish the works he promised he would, he often failed to appear on their meetings, and he was the one who managed to blab out the meaning of the P. R. B., causing great problems for all of them.40 Actually they came several times to the verge of
38 39

Weintraub (1977:30-31). Weintraub (1977:31). 40 Weintraub (1977:50).

Kiss 14 splitting up, mainly because of Rossetti. But at the same time he was the one who could motivate and inspire the whole brotherhood, by making them write poetry and taking them to night walks and other excursions, stimulating their fantasy.41 Although Hunt seemed to support Rossetti in whatever he wanted, before that he would make him run a few rounds. This was the case for example with the members. Hunt would be much stricter, than Rossetti about the profile of the society, as I mentioned, while Rossetti would call his friends, and mates, and even his sister, Christina. As a result of this, achieving an agreement, they had legitimate and illegitimate members within the brotherhood, especially from the time when they needed money to publish The Germ. The original seven members were the legitimate brethren; the others, well, they were the illegitimate money division.42 And there was Christina, whose poems were professionally recognized, but still she was a woman, therefore could not be a brother, so she became an outsider member. Her poems were brought to the brothers meetings by William, and they discussed them there. It must be noted that here we are talking about poetry. And there is also The Germ, a journal, which dealt mainly with literature and only on the level of criticism with fine art, although the Pre-Raphaelite Brotherhood consisted of artists, and meant to be dealing primarily with painting. So what happened? Gabriel happened. In innocent silence he managed to shape the brotherhood according to his interests, doing this without being a firm and strict leader, just using his personality. As usual, he could achieve what he originally wanted. Although they had to fight the harsh and continuous criticism they got, almost all of the time since the meaning of P. R. B. was found out, the first instalment of the brotherhood remained together and tried to prove their ability, until the end in 1852. Later
41 42

Weintraub (1977:36-37). Weintraub (1977:44).

Kiss 15 they would reunite, but for the first time they continued on separate trades.43 To get a deeper understanding of the social life and mechanics of their group and to create a possible explanation for the questions concerning the motivations for its maintenance despite of the hardships, I would like to draw the outline of the brotherhood, in the light of group dynamics and some social-psychological theories. Group dynamics are dealing especially with the structure of small groups and the behaviour of individuals within them.44 According to theories of group dynamics, group cohesiveness is the thing, which makes individuals stay in the group.45 Now I will list some factors, which reinforce cohesiveness46, then see how they were achieved or missed by the Pre-Raphaelites. Firstly, the corner stone of cohesiveness is attraction and liking between the members. It is clear that small groups are usually based on some interpersonal attraction, and that all members cannot like each other, or not with the same intensity. For this part, the Pre-Raphaelites did well, because they invited their friends and mates, especially Gabriel, who did not considered the persons artistic ability, or his fitting into the starting principles of the brotherhood, but he invited those people, whom he liked and who liked him. It is also an important point here that the attraction within the Pre-Raphaelite Brotherhood trended towards Gabriel, which could made him an able leader, and also should made the group more cohesive, since an attractive personality is also a factor. So considering the attraction within the group members and towards a leader with the exception of Millais was provided in the brotherhood, and so they had a firm ground to be created, but at this point it is rather a simple friendship.

43 44

Weintraub (1977:71). Hogg (1988:93). 45 Hogg (1988:95). 46 The factors mentioned in the following paragraphs are from Hogg (1988:95-97).

Kiss 16 Another two factors, to which they were eligible was a shared threat and shared goals. The threat was the Royal Academy and its principles of art, which they all criticised, and which criticised them, and this pulled the members more and more together. From the threat resulted their goals, which is to reform painting, but here, there were already some weaknesses. Their principles were not strong enough their organisation was not strict enough to make their goals as dogmatic as they need to be to demand full determination of the members. They had an acceptable basis in what they did not like: these were the over-stylized standards of the Academy, which they originated from Raphael. As a conclusion, they wanted to return to the style before Raphael, which is still fine. But from this point they are not stable or clear enough, defining their topics and style. They created the List of Immortals as their inspirations, but the list is too wide: they mention real and unreal persons, painters, poets and kings, classics and contemporaries, which makes a quite unspecified list. For the style they were still very flexible, although they had clearly some common points, as a fondness of tragic beauties, symbolism, and natural realism. So in this respect the loosely termed goals could result in a weakness within the brotherhoods structure. Their concept of the brotherhood was also rather idealistic, than realistic. It became looser with time, but they still tried to preserve the brands of legitimate and illegitimate trying to maintain the original romantic atmosphere and leaving out the idea that money is also needed, which is of course realistic but at the same time it ruins the illusion of revolution, secrecy, elevation and beauty. As they got the first strikes from critics, they needed to get bigger and more serious to make their positions firmer, and so The Germ was started, and other members were added. However, due to these, the brotherhood started to

Kiss 17 achieve an adult age, and although it became socially more serious, it lost something from its childlike magic. But they could work until the last two factors, which they missed to fulfil did not become prominent: the success on group tasks and need satisfaction. From the time the meaning of P.R.B. was found out and before that they also lacked positive criticism , they hardly managed to achieve any success as members of the group, instead right on the contrary, they were unsuccessful because of being members of the group, which can easily lead to a downfall. And need satisfaction is almost such a basic as attraction. People used to become group members because they have certain needs they want to get satisfied. For the rewards they get, they can afford some costs. But in the case of the brotherhood, the cost started to be much bigger, namely an early ruined artistic career for young ambitious artists, while the reward or its value became less and less. Taking these factors, we can easily model the life of the brotherhood from 1848-52, and the founding and the split up are both understandable. But it is still a question how could they remain together for four years while continuously getting negative criticism. I found two possible explanations for this. The first is that failed groups tend to improve cohesiveness, due to they failed as a group, and this can be a ground for further motivation to remain together and help each other.47 Although in the case of the brotherhood, this could only work until they did not start to sense themselves as individuals and associate the failure with a person rather than the group. And Rossetti was the one, who managed to keep them together as a group with his motivating exercises and his own enthusiasm, but as his interests turned towards the Sid from 1851, the others turned to their own businesses and brotherhood started to fall apart.

47

Hogg (1988:103).

Kiss 18 The other version is the social impact theory48, which only recognizes three factors, but these are more favourable towards the Pre-Raphaelites. The first is group size, saying the bigger is the better and according to this, adding more members in times of criticism proved to be a good idea for the brethren. The second is immediacy, meaning being close to each other, which was provided by the regular meetings and programs, and by the fact that they were friends. And this factor started to loose with Siddal, and became broken by Hunts and Woolners travels. Finally, the third factor is strength of the source, namely the strong characters within the group, which was provided by Gabriel, and I think it was the dominant motivation for the whole brotherhood. Actually he was treated as a medieval king, which could be in harmony with the medieval principles the brothers were interested in, who was to be served, and so in spite of his reduced talent in arts and his unreliability, they let them do whatever he wanted.49 According to this analysis we can conclude that the brotherhood started as a boys club, which then got a serious role in art history and in the society, which was not exactly decided at the foundation. But they could manage to deal with the new circumstances with the help of them motivating each other, especially Gabriel, and their belief in those romantic, idealistic, medieval ideas, which also became the principles of their art. And this boyish enthusiasm lasted as long as women did not appear. So here, I would turn to the PreRaphaelite approach of women for a few paragraphs, before dealing with Lizzie Siddal in more detail in the next chapter. For Pre-Raphaelite art, the presence of women is essential. They are their muses, themes, and adored saints and demonic goddesses. The idealism of the brethren is extended on them also, making their beauty part of the artistic eternity they create in their poems and on their canvases. They are in themselves a form of art, their beauty cries for
48 49

Hogg (1988:99). Weintraub (1977:83).

Kiss 19 immortalisation; but not in the way it is. The women in the works of the Pre-Raphaelites are idols and archetypes50 but at the same time wives and lovers of the painters, who in themselves are worthless. The Pre-Raphaelite woman is a woman with two identities: one in the eye of the painter and one that we can only see in their own works. And this is the tragedy of those women, who wanted to be loved but only their recreated versions could obtain the love they longed for. Although adored, they were mostly depicted in harmony with Victorian expectations. For the Victorian era women could be saintly housewives or evil tempters. This mutually destroyed the idea of a woman as a complex personality. This approach was also present in Pre-Raphaelite art, which was merely sexual. Women in their works were punished for their sexual misbehaviour or fell victim to an abusive or unrequited love affair, which often lead to their death. But while Victorian painters wanted to set an example and blame the woman for everything, Pre-Raphaelites understood and represented that men are also guilty of the affairs of women.51 Pre-Raphaelites just wanted the uncontrolled passion of love and sexuality for itself, and felt that they are free from those moralising conventions that blamed the women alone. This sounds as a very liberal thought about women, but still they seemed to adore their models, but did not want them as women but dreams, and so they supported the one-sided Victorian picture. And also they became incapable to be real partners. They tried to recreate them so as to fit their unreal expectations, but this was only possible in their works. This idealistic but at the same time partly a Victorian approach was manageable to women like Jane Morris, William Morris wife, or Annie Miller, Holman Hunts lover, who was educated by the Pre-Raphaelite men, and got into a position, which was much more profitable for them, than their previous circumstances, and even made fun of their
50 51

Lee. Kim.

Kiss 20 benefactors. But the adoration and the boyish idealism, which was the cornerstone of the whole brotherhood itself, could be part of a game for the men, but some women who were toyed with were ruined in the confusion of her roles. I would like to end this chapter and begin the next one with a quotation from Christina Rossettis In an Artists Studio52, which is organised around this doubled idea of women. This poem was written exactly about Elizabeth Siddal and Rossetti, and gives a hint at the situation and the confusion of the woman, who became art when she ceased to be a woman of flesh and blood, who is adored, but not for herself, but for the ideas carved in her lovers head.

One face looks out from all his canvases, One selfsame figure sits or walks or leans

Not wan with waiting, not with sorrow dim; Not as she is, but was when hope shone bright; Not as she is, but as she fills his dream.

52

Rossetti, Christina: In an Artists Studio.

Kiss 21

SYNTHESIS THROUGH THE SID

The role of Elizabeth Siddal in the artistic achievements of the Pre-Raphaelites is beyond doubts: she was Rossettis muse for the most of his works, and also a great influence on the others paintings as their first supermodel. However, her success and source of happiness lead to her tragedy. I found her life and relationship with Rossetti the most interesting among the other Pre-Raphaelites and their muses, so I would like to examine it in more detail within the framework of the already mentioned information about Rossetti, the brotherhood, and the era which they lived in, concentrating on the psychological proceedings that might be working in the background and resulted in the perceivable consequences. I will start with some facts about Siddals life until she met the brotherhood, then continue with her relationship with Rossetti, and finally add a possible analysis in the light of the Pre-Raphaelite whole. This can also be understood as a conclusion from the topics I already discussed, how they affected a specific situation and the life of a real woman. The approximately ten years that Siddal and Rossetti spent together models perfectly, what the Pre-Raphaelite ideas represented: passion, romanticism, idealisation, dreams. But these ideas collapsed when the group and its individual members had to take their places within the Victorian society, had to recognize reality and so to go through a process of realisation. The same happened with the Rossetti-Siddal relationship. Lizzie was born in a former middle-class family in 1829, which sank into a lower financial level due to some unfortunate reasons as her father claimed. In order to make a living, the Siddalls opened a cutlery, which was quite profitable for a period.53 They had to take care of six children, among whom Lizzie was the eldest. When Lizzie was discovered by Walter Howell Deverell in 1849, an added member of the brotherhood and Rossettis
53

The information about Siddals life in the following paragraphs is from Hawksley (2008) chapters 1 and 2.

Kiss 22 pupil, she was working in a hat shop, in London. Deverell and the others were amazed by her unique beauty, so she soon became the first supermodel of the Pre-Raphaelites, the first stunner, although she may have been the farthest from becoming a Victorian model. She was tall and thin, having no curves, but red hair, which in itself meant a social handicap, especially in lower classes, due to its association with witchcraft. She was anything but a Victorian ideal. Becoming a model was a charming opportunity for a young girl and also a profitable one, although models did not have a good reputation at that time. Not necessarily openly, but they were considered whores, so at first her parents opposed Lizzies new obsession. But soon it became clear that the brotherhood had no bad intentions towards the girl, they rather admired her as a saintly creature, and treated her as a living piece of art. She was the first among Pre-Raphaelite muses, who got an exclusive treatment, which was very flattering and misleading at the same time. At this time, the brotherhood still lived its innocent period, dealing with women mainly in mind and paintings, not physically. Consequently she was the first model, important enough to set up, although unconsciously, the basic characteristic of Pre-Raphaelite muses. Considering the others like Jane Morris, Annie Miller, or Fanny Cornforth, they were all form lower-class, needed to be educated and improved although with different intensity they were unique in their appearance, and very sensual. Being a Pre-Raphaelite model must have been almost a transcendental experience for Lizzie: apart from a much higher salary that she got for modelling, all of a sudden she became the muse and the subject of adoration for a group of intelligent, upper-middle class, young and at least some of them handsome artists. Even her relationship with Deverell started to turn into a romance, but being an aristocrat, he found the social gap between them

Kiss 23 a more serious difficulty than Rossetti did. Very soon, Rossetti and Siddal became a couple, and their rampaging relationship began. In the beginning, the nature of their relationship resembled the idealistic brotherhood itself. There was a romantic secrecy around the couple; at first there were only hints which suggested that there was more between them than being a painter and his model. Such a hint was the Tupper case in 1850,54 when the first signs of jealousy were shown on Rossetti due to a joke, according to which Lizzie was introduced to Mr. Tupper as Hunts wife. Actually Rossetti and Siddal were recognized as a couple, although this could not be officially stated, by 1850. There were problems with their relationship from the very beginning. Firstly, it had to be kept in secret because the morally strict Victorian society would not consider it a proper behaviour and lifestyle, as the two of them frequently stayed together in Rossettis apartment. This was not a possible way for couples to be together; moreover, they were not engaged either.55 But the two of them created a minority group against all standing conventions of the society, and although secretly, they decided to live according to their own ideas just like the Pre-Raphaelite Brotherhood, in a sense. This period of their relationship was perhaps the most flourishing. They were literally obsessed with each other, spending most of their time together. Lizzie became Rossettis only model and he also expropriated her.56 According to Maddox Brown, Rossetti actually developed a monomania57, for he kept creating sketches and paintings of Lizzie over and over again. He also made a Dantesque picture of Guggums as he called her informally58 which is not an accident: Rossetti soon identified their situation with the one of Dante and Beatrice, in the sense that in their relationship joy and frustration were
54 55

Weintraub (1977:57). Hawksley (2008:48). 56 Weintraub (1977:65). 57 Weintraub (1977:72). 58 Hawksley (2008:65).

Kiss 24 mixed together. 59 He liked to see obstacles in the way of their happiness, although they had enough in reality to which he was impervious. Such an obstacle was the Rossetti family for instance. They did not consider Lizzie a good match for the young artist. Although financially the two families were not too far from each other, socially the Rossettis occupied a much higher position, of which they were proud enough to hope for a suitable partner for the man.60 And while Deverell was conscious about the possible conflicts originating from the differences between his and her status, Rossetti claimed to feel himself free from such social limitations and did not care about the possible consequences of running the risk of the relationship.61 However, he still could not deal with the situation that he considered he could manage and that had a more fateful effect on Siddals life. As a good example for Rossettis indecision which is so typical of his personality considering his artistic schizophrenia he acquired a weird dual approach towards her, which is observable in his handling of her name62: he called her Lizzie informally, which is surely not the aristocratic use of the name Elizabeth, but on the other hand he made her drop the second l in her name, to make it sound more aristocratic. For him, he wanted her to be simpler, while for the society he wanted their relationship to become more acceptable by elevating the woman to his level. This is another echo of the dual approach to women, which was not rare in the Victorian society, or in the Pre-Raphaelite Brotherhood itself. As I have mentioned, Victorians saw exclusively the saint or the tempter in a woman, while the Pre-Raphaelites created different women, idols, pieces of art from a raw material, a woman who was eager to love and be loved, like Lizzie. From the very beginning Rossetti treated her as a piece of art that had to be shaped, according to his ideas. This is also suggested by the fact

59 60

Weintraub (1977:66). Weintraub (1977:61). 61 Hawksley (2008:25). 62 Weintraub (1977:73).

Kiss 25 that he tutored her as his pupil, which may mean that he found her really talented but has also the connotation that he felt himself superior to her so much that he wanted to create a different person of her and guide her on the way he chose, as her teacher.63 When he wanted a simple love object, he got that during the hours within the walls of his apartment leaving the rest of the world outside, but when he needed, he re-created her for his other ideals and purposes, as if she was nothing more than a beautiful marionette to play different roles with. The point when things really started to be complicated in their relationship, analogous to the brotherhood itself, was finding their place in society. Marriage would be the only acceptable way for them to be together, especially for the womans sake, who could otherwise easily become branded as a lover or, rather, a whore, due to maintaining such an intimate relationship with a man. In the beginning, neither of them wanted to get married: Rossetti was not willing to lose his freedom and Lizzie was afraid of making an ill wife64, for she had developed a chronic bronchial illness65 which would later deteriorate much worse. But later it became a serious problem, especially for Siddal, that Rossetti was not eager to marry her. He testified his love with lots of paintings and poems but when he had to take the responsibility for his feelings on a more solid grounding, and realize them in an acceptable form in front of society, he was unable to do it. In the case of the brotherhood, the same happened; he was unreliable and did not feel the burden of their acts as a secret society on their career as artists. Another cause of his rejecting reality could be the loss of ideals that seemed to be the essence of his personality. The disappointment and the seriousness of this matter are understandable from Siddals poem, The Lust of the Eyes.66 It discusses how transient she feels the mans love to

63 64

Weintraub (1977:73). Weintraub (1977:74). 65 Weintraub 1977:69). 66 Hawksley (2008:61).

Kiss 26 he, who adores her only for her beauty and does not care about her soul: Low sit I down at my Ladys feet/ Gazing through her wild eyes/ Smiling to think how my love will fleet/ When their starlike beauty dies. Moreover, there are hints in this poem also that their relationship was also sexual (But for joy my hearts quick pulses play/ For to me her love is given.), which must have made her situation much more desperate, for her marriage prospects were restricted to Rossetti. It is also worth pointing out that Siddal was writing her poem from a male perspective. This gesture seems to reinforce the male superiority in her life, for its slightly ironic tone shows clearly the mans easy and irresponsible approach to the situation, which actually leads to the tragedy of the woman, who is unable to change the predictably negative outcome. Although in this poem the woman is as passive as she can be, considering that she is just the object, not the speaker, still it is designed to represent the womans feelings, her grief and disappointment by showing the mans mind as she sees it. So The Lust of the Eyes is almost a reverse rewriting of The Blessed Damozel: a woman thinking with a mans mind. But while Rossettis poem shows a woman passionately longing for her lover, Siddal writes about a man who is untrue and shallow. I think these two poems constitute a whole as they tell us a lot about the couples concepts about the ways of the other gender. In this way, they also highlight the double-work nature of much of Pre-Raphaelite poetry and painting. Siddals miserable situation affected her health badly: her bronchial illness, which could be originated from her modelling for Millais Ophelia in 1852, turned to a much worse and more complicated, even mysterious, illness.67 Her original problems were probably caused by a digestive disorder, which is also suggested by the references in Rossettis letters to her refusing to eat. Her symptoms also included vomiting and a pain in

67

My discussion of Siddals illness closely follows Hawksleys account (2008:70-73).

Kiss 27 the stomach that can also be a reference to period pains. To ease her pains she used the common drug of the era, laudanum, to which she soon developed an addiction. Due to her addiction, her health deteriorated even more. She started to show neurotic symptoms like nausea, a nervous cough, and a general feeling of weakness. And above all, she also suffered from a much more serious illness: depression. Probably this was the factor that made her illness so mysterious, for the worse her situation turned, the sicker she became. The cause of depression can be pharmacological68 and so connected to laudanum, but probably in her situation the reasons were mainly psychological. The proof for this statement is that her condition was inseparable from her relationship with Rossetti. As the years passed without their engagement, she started to be more and more ill, but when Rossetti appeared at her deathbed, she recovered for a few days. This seems to be a kind of blackmailing him for love and attention,69 but the form it took could be called somatization, which is the situation when patients show physical symptoms usually including digestive disorders due to mental problems70 or even a suicidal attempt, which is a common outcome of depression, especially in the case of young women, who can not or dare not really explain what they want and so they try to catch attention.71 Considering these psychological terms we can get an explanation to her behaviour as a desperate struggle for the love and the previous treatment that she got as the adored beauty and so it can be put as she was actually not addicted to laudanum but her symptoms were caused by an addiction to love, and so to Rossetti. But what are the motivations of Rossettis behaviour and in a sense his cruelty towards her? They are perfectly in tone with his personality and also the characteristics of the brotherhood.

68 69

Mitchell (1975:46). Hawksley (2008:73). 70 Vorvick. 71 Mitchell (1975:58).

Kiss 28 Let us now turn to Rossettis version of the story. In Siddal, he found his Beatrice; there are open references for this identification. In the beginning it was an idealistic, romantic relationship, just like the basic idea of the brotherhood was. But we know the handling of women in their circle, and we suppose that they do not really want Victorian housewives or flesh and blood women: they want heroines, idols, and passion. So not to make things so smooth, Rossetti created obstacles in their way of real happiness to achieve the idealistic circumstances: the triangle of love, pain and art that he imagined. First, he chose a beauty, as it was typical of Pre-Raphaelites. Then it was a suitable addition that the social gap between them made things a bit complicated, but actually he could have handled the situation, as he did years later, when he finally married her after 9 years of courtship. But marriage would ruin the illusion of the mysterious lover, who can be turned to a Beatrice from the Middle Ages, by making her an average and simple wife. From this point came Lizzies illness as another obstacle that he actually supported. He always liked the idea of death and the loss of a beloved, and a seriously ill woman suited to his obsession of this kind of romantic pain. From his letters and paintings of Lizzie we get a completely different picture of her, than from the records of others: he liked to see her as a weak and suffering figure whom he could be worried about.72 And also he could maintain this quite comfortable situation, because the woman was addicted to him and exposed to the strict morality of the Victorian society. But around 1855 something happened within their relationship, which resulted in things getting worse for Lizzie. It can be assumed that sexual side of their relationship was abolished, which could have happened due to several reasons, like Lizzie turning to Christianity and regretting her previous immorality or a miscarriage of a child, but there are clear references to her refusing in her poem Worn Out from around 1856 (I cannot

72

Uphaus.

Kiss 29 give thee the love/ I gave so long ago).73 And also this was the period when Rossettis several infidelities began. Lizzie was aware of the mans affairs with other models like Hunts muse, Annie Miller, or Fanny Cornforth, and they just made her more and more ill. But despite of her suffering Rossetti did not gave up his adventures out of his quasimarriage, although he kept returning to Elizabeth. The last point I would like to outline in this short essay about the background of their relationship is the most significant parallel between Lizzie and Beatrice, for what Rossetti might have worked so hard. Dantes worship of Beatrice, through which he produced many artistic pieces, the third edge of the triangle, was started mainly after her death. The same happened with Rossetti and Siddal: towards the end of their relationship, although they got married, there were many conflicts, and the ideals died. But when Lizzie died in a laudanum overdose in 1862, Rossettis passion revived: in the years after her death, he was obsessed with his death wife. He created maybe his most famous painting, the Beata Beatrix, two years after her death, in which she is represented, not as she was, but as she filled his dreams, in the form of Beatrice. So the problems of their relationship can serve as the prototype for problems of the age, the brotherhood, and Rossetti himself. As the other Pre-Raphaelites he also was not able to act as a real lover or husband or man in the sense that he they did not really see the women they loved as they were but the possibilities they could build up from them. They were not so different from other Victorians, who put women into two categories then forgot about them as individuals. The Pre-Raphaelites also created stereotypes, or rather re-created women into what they desired to see in paintings, read in poems or serve as idols. The brotherhood also suffered and finally collapsed in the period when they had to deal with the real consequences of their deeds. Everything could work fine just until there was Gabriel to motivate them with his own imagination and romantic fantasies. While they
73

Hawksley (2008:62-63).

Kiss 30 were playing kind of an isolated play within the secrecy, the brethren enjoyed the game, but when they had to show themselves and stand up as representing and fighting for something serious, they failed. Because their seriousness originated first and foremost in their empire that they built up in their fantasy, without correctly considering the reality of the age and expected standards. And finally there is the tragedy of Gabriel, who suffered in a kind of schizophrenia throughout his whole life, which made him unable to be happy and satisfied in any circumstances. He wanted to be a painter and a poet at one and the same time, wanted a flesh and blood woman to love, and an own abstract Beatrice to adore, and so wanted to be earthily happy and lyrically sad together. But unfortunately this kind of instability in his personality became the tragedy of Lizzie Siddal but also contributed to the motivation of the brethren to create one of the most interesting movements of the 19th century. As a conclusion, I would like to summarize what I consider the essence of the PreRaphaelite Brotherhood. This secret society was the society of dreamers, who raised their ideals above everything: above their career, above their life, above their beloveds. They created an own King Arthur for themselves, whom they could serve, and who himself was also a mysterious character, who had a strangely great effect on people, but an even greater fantasy. They were all ruled by him, and his main principle that was based on achieving and realising ones dreams. Rossetti, who became the Arthur of their mind, would be incapable of leading in any other group, but the group of idealists. He was unreliable, in a sense weak and inconsequential, but possessed such an enchanting personality, which enabled him to be adored, loved and followed in everything he wanted. He created such a strong fantasy that he could not release but he did not need to either, because finally he managed to realise it. And perhaps this is where the success of the brotherhood lies.

Kiss 31 If he left his dream or if he was just a little bit less idealistic or odd figure, he would not be able to create and motivate such noticeable works of art. He would not be followed and adored by many. And in the light of this I would suggest that the hearth of the PreRaphaelite Brotherhood besides the dreams was an everlasting search for uniqueness. They searched for the most outstanding qualities and topics in everything: women, themes, pieces of art. And despite of the many handicaps and hardships that made their way heavy, they became recognized due to this unique approach of uniqueness.

Kiss 32

BIBLIOGRAPHY Curnow, Harriet. Work In Focus: Millais's Ophelia. Tate: British and international modern and contemporary art. Accessed 01 Mar. 2010. <http://www.tate.org.uk/ophelia/>. Hawksley, Lucinda (2008) Lizzie Siddal: The Tragedy of a Pre-Raphaelite Supermodel. London: Carlton Group. Hogg, Michael A. and Abrams, Dominic (1988) Social Identifications: A Social Psychology of Intergroup Relations and Group Processes. London: Routledge. Kim, Hae-In. The Pre-Raphaelite Women Destroyed by Love in All Its Forms and Fates. The Victorian Web. Accessed 10 Mar. 2010. <http://www.victorianweb.org/painting/prb/hikim12.html>. Landow, George P. Pre-Raphaelitism: An Overview. The Victorian Web. Accessed 01 Mar. 2010. <http://www.victorianweb.org/victorian/painting/prb/index.html>. ---. Pre-Raphaelitism in Poetry. The Victorian Web. Accessed 01 Mar. 2010. <http://www.victorianweb.org/painting/prb/4.html>. Lee, Elizabeth Pre-Raphaelite Women The Victorian Web. Accessed 01 Mar. 2010. <http://www.victorianweb.org/gender/preraph.html>. Marecki, Madeleine. Sensory Detail and Its Development of Mood in My Sister's Sleep The Victorian Web. Accessed 01 Mar. 2010. <http://www.victorianweb.org/authors/dgr/marecki5.html>. McGann, Jerome (Ed.) Beata Beatrix - Collection Introduction. Rossetti Archive. Accessed 01 March 2010. <http://www.rossettiarchive.org/docs/s168.raw.html>. ---. Hand and Soul - Collection Introduction. Rossetti Archive. Accessed 01 Mar. 2010. <http://www.rossettiarchive.org/docs/46p-1849.sa76.raw.html>. Mitchell, Ross (1975) Depression. Harmondsworth: Penguin.

Kiss 33 Mondragon, Brenda C. (Ed.) Dante Gabriel Rossetti. Neurotic Poets. Web. 01 Mar. 2010. <http://www.neuroticpoets.com/rossetti/>. Rossetti, Christina. In an Artists Studio. Goblin Market and Other Poems. Cambridge: Macmillan, 1862. Rossetti, Dante Gabriel. Hand and Soul. Rossetti Archive. Accessed 01 Mar. 2010. <http://www.rossettiarchive.org/docs/46p-1849.1869.mcgann.rad.html#46p1849.sa76>. ---. My Sister's Sleep in Clive Wilmer (ed.) Dante Gabriel Rossetti: Selected Poems and Translations, 2002. New York: Routledge. pp. 43-46. ---. The Blessed Damozel in Clive Wilmer (ed.) Dante Gabriel Rossetti: Selected Poems and Translations, 2002. New York: Routledge. pp. 47-48. Siddal, Elizabeth Eleanor. The Lust of the Eyes in Lucinda Hawksley Lizzie Siddal: The Tragedy of a Pre-Raphaelite Supermodel. 2008. London: Carlton Group. p. 61. ---. Worn Out in Lucinda Hawksley Lizzie Siddal: The Tragedy of a Pre-Raphaelite Supermodel. 2008. London: Carlton Group. p. 63. Spearing, Melissa K. Overview of Schizophrenia. Schizophrenia.com, Indepth Schizophrenia Information and Support. Accessed 01 Mar. 2010. <http://www.schizophrenia.com/family/sz.overview.htm>. Uphaus, Adele. Elizabeth Siddal: Creator and Created. LizzieSiddal.com. Accessed 01. Mar. 2010. <http://lizziesiddal.com/portal/?p=39&cpage=1#comment-704>. Vorvick, Linda. Somatization Disorder. National Library of Medicine - National Institutes of Health. Accessed 22 Mar. 2010. <http://www.nlm.nih.gov/medlineplus/ency/article/000955.htm>. Weintraub, Stanley (1977) Four Rossettis. New York: Weybright and Talley.