The Studio, Volume 69 Charles Holme, editor 1 In this electronic edition, we have omitted the pages of all issues that do not contain material by or related to DGR. Unpaginated front and back matter from these issues has also been omitted. The structure of this electronic document allows for the future addition of the omitted material. The Studio Charles Holme, editor “The Studio” Limited Spottiswoode, Ballantyne & Co. London 1916 69 Duke University Library n1.s9 Olive green, with engraving of a young couple standing under a pair of intertwined trees. 2 Commentary
Introduction

This issue of the periodical contains full-colour reproductions of the George Rae collection of pictures that were acquired by the Tate Gallery in 1916. These included the two major oils <hi rend="i">Monna Vanna</hi> and <hi rend="i">The Beloved</hi> and four of DGR's most significant watercolour pictures: <hi rend="i">The Wedding of St. George and the Princess Sabra</hi> , <hi rend="i">The Blue Closet</hi> , <hi rend="i">The Damsel of the Sanct Grael</hi> , and <hi rend="i">The Chapel before the Lists</hi> . They are the illustrative materials accompanying T. Martin Wood's article on Rossetti, which was written in celebration of the National Gallery's acquisition of the Rae Collection of watercolor paintings by DGR.

Textual History: Composition

Textual History: Revision

Printing History

Pictorial

Historical

Literary

Translation

Autobiographical

Bibliographic

Ashwin, Clive. “The Early Studio and Its Illustrations.” Studio International cxcvi:1003 (1983), 22-29. Ashwin, Clive. “The Studio and Modernism: A Periodical's Progress.” Studio International cxcii:983 (Sept.-Oct. 1976), 103-112. Gordon, D.J. “Dilemmas: The Studio in 1893-4.” Studio International clxxv: 899, 175-183.

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“THE WEDDING OF ST. GEORGE.” WATER-COLOUR BY D.G. ROSSETTI. (National Gallery of British Art.) Color reproduction, with a small black “Studio” graphic stamped below it to the left.

THE STUDIO Title of journal printed in large caps at the head of the page

<hi rend="c">THE TRUE ROSSETTI. BY</hi> T. MARTIN WOOD.

The acquisition of the Rae collection of [etc.]

“THE BLUE CLOSET” WATER-COLOUR BY D.G. ROSSETTI (National Gallery of British Art) Black-and-white reproduction placed at the lower right of the page.

“DAMOZEL OF THE SANCT GRAEL” WATER-COLOUR BY D.G. ROSSETTI (National Gallery of British Art) Black-and-white reproduction placed in the center of the page.

“CHAPEL BEFORE THE LISTS.” (National Gallery of British Art.) WATER-COLOUR BY D.G. ROSSETTI. Color reproduction, with a small black “Studio” graphic stamped below it to the right.

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“THE BELOVED.” FROM THE OIL (National Gallery, London) PAINTING BY D.G. ROSSETTI Large black-and-white reproduction.

“MARY MAGDALENE” WATER-COLOUR BY D.G. ROSSETTI (National Gallery of British Art: On Loan) Black-and-white reproduction placed in the center of the page.

“THE TUNE OF THE SEVEN TOWERS.” (National Gallery of British Art.) WATER-COLOUR BY D.G. ROSSETTI. Color reproduction, with a small black “Studio” graphic stamped below it to the right.

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“THE PASSOVER IN THE HOLY (National Gallery of British Art; FAMILY.” WATER-COLOUR Presented by the National Art- Collections Fund) BY D.G. ROSSETTI Large black-and-white reproduction.

“MARY OF NAZARETH” WATER-COLOUR BY D.G. ROSSETTI (National Gallery of British Art: On Loan) Black-and-white reproduction placed in the center of the page.

“FAZIO'S MISTRESS. FROM THE (National Gallery.) OIL PAINTING BY D.G. ROSSETTI. Color reproduction, with a small black “Studio” graphic stamped below it to the right.

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“MONNA VANNA.” FROM THE OIL (National Gallery, London PAINTING BY D.G. ROSSETTI Large black-and-white reproduction.