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 DANTE GABRIEL ROSSETTI 291 The effort in these early pieces is too marked. I remember once hearing Rossetti say that he did not mind what people called him, if only they would not call him "quaint." But the fact was that, if quaintness be defined as the inabil- ity to conceal the labor of an art, there is no doubt that both his poems and his designs occasionally deserved this epithet. He was so excessively sincere an art- ist, so determined not to permit anything like trickiness of effect or meaningless smoothness to conceal the direct statement of an idea, that his lack of initial dis- cipline sometimes made itself felt in a curious angular hardness. And now it would be necessary, if I were attempting a complete study of Gabriel Rossetti's intellectual career, to diverge into a description of what has so much exercised popular curiosity, the pre-Raphaelite movement of 1848. But there is no reason why, in a few notes on character, I should repeat from hearsay what several of the seven brothers have reported from authoritative memory. It is admitted, by them and by all who have understood the movement, that Ga- briel Rossetti was the founder and, in the Shakespearian sense, "begetter" of all that was done by this earnest band of young artists. One of them, Mr. Millais, was already distinguished ; two others, Mr. Holman Hunt and Mr. Woolner, had at that time more training and technical power than he ; but he was, nevertheless, the brain and soul of the enterprise. What these young men proposed was ex- cellently propounded in the sonnet by " W. M. R.," which they prefixed to their little literary venture, the "Germ," in 1850. Plainly to think even a little thought, to express it in natural words which are native to the speaker, to paint even an insignificant object as it is, and not as the old masters or the new mas- ters have said it should be painted, to persevere in looking at truth and at nature without the smallest prejudice for tradition, this was the whole mystery and cabal of the P. R. B. They called themselves " preraphaelite," because they found in the wings of Lippi's angels, and the columbines of Perugino's gardens that lov- ing and exact study of minute things which gave to them a sense of sincerity, and which they missed in the breadth and ease of later work. They had no am- bition to " splash as no one splashed before since great Caldasi Polidore ; " but they did wish to draw a flower or a cloud so that it should be a portrait of that cloud or flower. In this ambition it would be curious to know, and I do not think that I have ever heard it stated, how far they were influenced by Mr. Rus- kin and his "Modern Painters." I should not expect to find Rossetti influenced by any outside force in this any more than in other instances, but at all events Mr. Ruskin eagerly accepted the brotherhood as practical exponents of the theo- ries he had pronounced. None of them, I think, knew him personally when he wrote the famous letter to the Times in 1851, defending Mr. Millais and Mr. Holman Hunt from the abuse of ignorant critics, who, he said, had failed to perceive the very principles on which these " two young men " were proceeding. Somebody wrote to him to explain that there were " three young men," and Mr. Ruskin wrote a note to Gabriel Rossetti, desiring to see his work, and thus the acquaintance of these two remarkable men commenced. Meanwhile, although the more vigorous members of* the brotherhood had