Dante Rossetti's birth in London, 1828—His Godfathers. . . 3

Gabriele (Father of Dante) Rossetti—His birth in Vasto—His Parents and Brothers—His drawings, studies, and writings, in Italy— His political lyrics and exile—Malta and John Hookham Frere— Life in London—His death—His character, opinions, person, etc.— His writings in England on Dante, etc.—Carducci's opinion of his poetry—The centenary of his birth, Vasto—Descriptions of him by Bell Scott and Frederic Stephens—Mrs. Gabriele Rossetti, her life, character, and person—Some versicles of hers. . . 3

Dante Rossetti's Great-grandfathers—His maternal Grandfather, Gaetano Polidori, Secretary to Alfieri, and Italian teacher in London— Anecdotes of the French Revolution and of Alfieri—Polidori's person, character, and writings—Mrs. Polidori—Her Father, William Pierce—Connexions of the Pierce family, Mrs. Bray,

The four children of Gabriele Rossetti—Houses in Charlotte Street— Dante Rossetti and his Sister Maria—Walks about London, etc.— Pet animals—Sights and entertainments in London—Singing, card-playing, illness, etc.—First attempt at drawing, and resolve to be a painter—Theatrical and other prints. . . . . . . . . . 36

The Potters and other British friends—Numerous Italian friends of Gabriele Rossetti—Pistrucci, Sangiovanni, etc.—Protestantizing Italians—Mazzini and Panizzi—Talks on politics—John Stuart Mill on Continental and English Life . . . . . . . . . . . . . 44

Dante Rossetti's early training—The Bible, Shakespear, Göthe, Walter Scott, etc.—Childish drawings from Henry VI.—Rossetti's opinion of Scott's novels, 1871—Books of prints and the National Gallery —Dante's poems read later on—Childish drama, The Slave , etc.— Childish drawings—Dante Rossetti fortunate in his family surroundings. . . . . . . . . . . . . . . . . . . . . . . . . . 57

Dante Rossetti's first school, Mr. Paul's, 1836—School-life not favourable to his character—To King's College School, 1837—The Cayley brothers—What Dante Rossetti learned—His various Masters, including John Sell Cotman the painter—Mr. Caine's account of Rossetti's school-life discussed—Parallel with Edgar Poe's school-life—School-fellows—School-exercise on China, and Christina Rossetti's verses thereon . . . . . . . . . . . . . . . . . . . . 68

Polidori's country-house at Holmer Green, and his house in London— Accident with a chisel—Boyish drawings from the Iliad—Dante Rossetti reads Byron, Dickens, Brigand Tales, French novels, etc. —He writes a prose tale, Roderick and Rosalba , and a ballad-poem, Sir Hugh the Heron , which is privately printed, also William and Marie — His note on Hugh Heron —Boyish drawings—Studies German under Dr. Heimann—Intimacy with the Heimann family . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Dante Rossetti leaves school, 1842, and goes to Cary's Drawing Academy—His American friend, Thomas Doughty, and his family —Charley Ware, and his portrait-group—Bailey's Festus, and verses The Atheist—Studies and habits at Cary's—Sonnets from the Italian, and Bouts-rimés sonnets—The Westminster Hall cartoon-competitions—Proceeds to the R.A. antique school, 1846 —Disinclination to any obligatory study or work—Millais, Holman Hunt, Stephens—The Ghiberti Gates—Hunt on Rossetti's appearance and demeanour—A fellow-student's reminiscence— Rossetti's immethodical habits—Theatre-going . . . . . . . . . . . . 88

Rossetti's early sketches influenced by Gavarni—Lithographed playing-cards, etc.—Designs to Christina Rossetti's Verses, 1847—His first uncompleted oil-picture, Retro me Sathana —Reads Shelley, Charles Wells, Maturin, Thackeray, etc., and with great predilection Browning—No solid reading—His prose tale, Sorrentino , 1843—Translations from the German, The Nibelungenlied , Henry the Leper , etc.—Translations from the Vita Nuova, and Early Italian Poets—Tennyson's opinion of these—The printed opinions of Swinburne and Placci—Writes The Blessed Damozel , 1847—Admiration of Edgar Poe—Other poems, My Sister's Sleep , Ave , Dante at Verona , Jenny , etc.—The unpublished Ballad, Jan van Hunks , now begun, and finished on his deathbed — Political burlesque poem, unprinted—Purchase of the MS. book by Blake—Rossetti's work, towards 1862, on Gilchrist's Life of Blake . . . . . . . . . . . . . . . . . . . . . . . .97

Major Calder Campbell, Alexander Munro, William Bell Scott—Meets Ebenezer Jones—Rossetti's first letter to Scott, 1847—Observations on his poems—Rossetti sends The Blessed Damozel , and other Songs of the Art Catholic , to Scott—His turn of mind in religious matters—Scott's first visit—Rossetti writes to Browning about Pauline, and knows him afterwards . . . . . . . . . . . 110

Letter to Madox Brown, 1848, asking to be allowed to study painting under him—Rossetti's relation to the course of study at the R.A.— Details about Brown, and his first call on Rossetti—Rossetti set to still-life painting, etc.—He calls on Hunt, and consults him as to further painting-work—His design of Gretchen in the Church — The Cyclographic Society—Opinions of Millais and Hunt on the Gretchen —Rossetti's indifference to perspective, in which Stephens gives him some lessons—Forwards some poems to Leigh Hunt, who (letter quoted) praises them, but dissuades him from trusting to literature as a profession— Head of Gaetano Polidori , June 1848 —Rossetti adopts Holman Hunt's advice as to painting, and shares a studio with him in Cleveland Street—Stephens's description of it—Hunt takes Rossetti round to Millais in Gower Street. 115

Lasinio's engravings from the pictures in the Campo Santo of Pisa lead on directly to the Præraphaelite movement, 1848—Remarks on Millais, Hunt, and Rossetti, in this connexion—The British school of painting in 1848, and the term Præraphaelite—The three inventors of the movement equally concerned in bringing it to bear—Rossetti's letter to Chesneau on this point—Their close attention to detail subsidiary to other objects in the movement— Madox Brown's relation to the Brotherhood—Four other members of it—Details as to Woolner, Collinson, Stephens, and myself—Great intimacy among the P.R.B.'s.—Hunt on Rossetti's literary attainments—The aims of the Brotherhood discussed— Not a religious movement, nor directly promoted by Ruskin— Rossetti, in later life, disliked the term Præraphaelite—Diary of the P.R.B. kept by me as Secretary—Defaced by Dante Rossetti

Rossetti sends The Girlhood of Mary Virgin to the Free Exhibition— The works of the Præraphaelites favourably received by critics and others in 1849, but very adversely afterwards—The Athenæum notice of Rossetti's first picture quoted—Sale of the picture, and its general success—Treatment in this book of his pictures etc. in later years, and reference to another book, Dante Gabriel Rossetti as Designer and Writer . . . . . . . . . . . . . . . . . 144

Rossetti bent upon starting a magazine, July 1849—Proposed titles and publisher—He writes the prose story Hand and Soul — Meeting at his studio, and choice of the title The Germ —Contents of No. 1, and its sale—Nos. 3 and 4 appear under the title Art and Poetry —Notices of the magazine—Debt upon its issue— Anecdotes relating to Hand and Soul —Rossetti makes an etching (destroyed) for this story, and begins another story An Autopsychology (or St. Agnes of Intercession )—His various contributions to the magazine— Verses by John L. Tupper on its expiry . . 149

Trip with Holman Hunt to Paris and Belgium—Paintings and Designs—Rossetti's attainments in draughtsmanship, etc.—Details as to Ecce Ancilla Domini —Press-criticism of this picture, and other Præraphaelite works of 1850—Extract from the Athenæum —The Queen and Millais's Carpenter's Shop —Details as to Giotto painting Dante's Portrait , Head of Holman Hunt, Mary Magdalene at the Door of Simon the Pharisee , and Found —

Rossetti falls in love with Miss Elizabeth Eleanor Siddal, 1850— Walter H. Deverell first sees her as assistant in a bonnet-shop— Her appearance—Deverell gets her to sit for the head of Viola in his picture from Twelfth Night—She also sits to Hunt and Millais—Her family—She sits to Rossetti for Rossovestita , and a subject from the Vita Nuova, and many other paintings—An engagement between Miss Siddal and Rossetti dating towards 1851—Her tone in conversation, etc.—Her paintings and verses —Swinburne's estimate of her quoted, also her poem A Year and a Day—Her extreme ill-health—She is introduced to the Howitt family—Rossetti as a lover—Death of Deverell, 1854    171

Ruskin not connected with the Præraphaelite movement when first started—In 1851 Patmore suggests to him to write something on the subject, and he sends a letter to the Times—In 1853 MacCracken calls his attention to Rossetti, and Ruskin praises two of his water-colours—Ruskin calls on Rossetti, April 1854—Their intimacy begins, partly interrupted by the death of Gabriele Rossetti, and the absence of Dante Rossetti at Hastings, and of Ruskin abroad—Affectionate and free-spoken relations between Ruskin and Rossetti—Madox Brown's dislike of Ruskin, who becomes the chief purchaser for a while of Rossetti's works— Rossetti ceases to exhibit—Ruskin's opinion of Rossetti after his decease—Extracts from Ruskin's letters, 1854-7—His high regard

Water-colours from Dante, etc.— Paolo and Francesca , Passover in Holy Family , Head of Browning , Dante's Dream , Designs from Tennyson, etc.— The Seed of David , Triptych in Llandaff Cathedral—General characteristics of Rossetti's style at this period— Troubles with the Tennyson designs, and Tennyson's own views of them—Sketches of Tennyson reading Maud—The Seddons and the Triptych— The Blue Closet , water-colour, and William Morris— The Wedding of St. George —James Smetham, and his remarks hereon . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Friends of Rossetti between 1847 and 1855—Burne-Jones calls upon him, June 1856, and is advised by Rossetti to adopt painting as a profession—Afterwards Rossetti knows Morris and Swinburne —The architect of the Oxford Museum, Woodward, invites Rossetti in 1855 to undertake some decorative work there—He does not do this, but in 1857 begins painting in the Union Debating- Hall from the Morte d' Arthur—Morris co-operates—Details as to the Union-work—In 1856 Rossetti publishes The Burden of Nineveh and some other poems in the Oxford and Cambridge Magazine —Ruskin on The Burden of Nineveh —Other painters in the Union Hall—Ultimate spoiling of the work—Swinburne's introduction to Rossetti—Rossetti and his friends see in Oxford Miss Burden, who becomes Mrs. Morris, and from whom Rossetti paints many heads—The Præraphaelite Exhibition in Russell Place, 1857—Miss Siddal's ill-health takes Rossetti to Bath, etc. —Proposal, not carried out, for a “College,” in which he and other artists would settle—Miss Siddal's dissent—Hunt's statement as to an “offence” by Rossetti . . . . . . 193

Water-colour of Mary in the House of John , oil-picture Bocca Baciata , etc.—Bell Scott's reference to the sitter for Bocca Baciata —Miss Herbert—Poems, Love's Nocturn , and The Song of the Bower — The Hogarth Club, 1858, and paintings there exhibited . . 202

Reasons for postponing marriage—Mr. Plint and other purchasers of Rossetti's pictures—Extreme ill-health of Miss Siddal at Hastings, April 1860—Marriage, 23 May—Wedding-trip to Paris—Enlargement of Rossetti's view of pictorial art—His designs in Paris, How They Met Themselves , etc.—He returns with his wife to the Chambers, afterwards enlarged, in Chatham Place . . . 204

Bell Scott on Rossetti's unsuitableness for married life—Remarks hereon—Mrs. Rossetti intimate with the Brown, Morris, and Burne-Jones families—Ruskin on drawings made by Rossetti from her—Rossetti's intimacy with Swinburne—also with Meredith, Sandys, Gilchrist, etc.—Death of Gilchrist, 1861—Mrs. Madox Brown's offer to help during his illness—Mrs. Rossetti's infirm health, and birth of a stillborn infant—Death of Mrs. H. T. Wells —Rossetti speaks of “  getting awfully fat and torpid” . . . 208

Death of Plint, and embarrassment ensuing to Rossetti, 1860—The Plint sale—Water-colours of Lucrezia Borgia and of Swinburne, design of Cassandra , oil-picture of Fair Rosamund , etc.—Preparations for publishing The Early Italian Poets —Opinions of Ruskin and Patmore—Published by Smith and Elder, with some subsidizing from Ruskin—Favourable reception of the book, and result of its sale—Proposed etchings to it not produced—Rossetti

Her illness, phthisis and neuralgia—The last painting for which she sat—10 February 1862, she dines at an hotel with her husband and Swinburne—My contemporary note as to her death next morning from taking over-much laudanum—Dr. John Marshall— Newspaper-paragraph, showing inquest, and verdict of accidental death—Rossetti's sorrow and agitation—Ruskin calls, and exhibits a change in religious opinion—The funeral—Rossetti consigns to the coffin his book of MS. poems—Caine's account of this incident —Rossetti's letter to Mrs. Gilchrist on his wife's death . . . 220

Rossetti resolves to leave Chatham Place, and proposes to combine with his family and Swinburne in getting a new house—He fixes on No. 16 Cheyne Walk—Relinquishes the proposal as to the family—His water-colour, Girl at a Lattice , and crayon-head of his Mother —Takes chambers provisionally, 59 Lincoln's Inn Fields—New arrangement for Cheyne Walk, Dante Rossetti as tenant, with Swinburne, Meredith, and myself, as sub-tenants— Condition of Cheyne Walk in 1862—Caine's account of the house in 1880—Further details as to the drawing-room etc.—Taking possession of the house, October 1862—Rossetti not constantly melancholy after his wife's death—Meredith and Swinburne as sub-tenants for the first two or three years—Meredith's opinion of Rossetti—Extracts from letters from Ruskin and Burne-Jones, 1862—Rossetti makes acquaintance with Whistler and Legros— His art-assistant Knewstub—Advance in Rossetti's professional income . . . . . . . . . . . . . . . . . . . . . . . . 227

Oil-pictures, Joan of Arc , Beata Beatrix , The Beloved , Lilith , Venus Verticordia , Sibylla Palmifera , Monna Vanna , Mrs. Morris , etc. —Water-colours, Paolo and Francesca , Return of Tibullus to Delia , Tristram and Yseult , etc.—Designs, Michael Scott's Wooing , Aurea Catena , etc.—Details as to most of these works, also Helen of Troy , Aurelia , The Boat of Love , The Blue Bower , Il Ramoscello , La Pia , Heart of the Night , Washing Hands , Socrates taught to Dance by Aspasia , Aspecta Medusa —Erroneous impression that Rossetti painted only from Mrs. Morris—Other sitters named, Christina Rossetti, Lizzie Rossetti, Mrs. Hannay, Mrs. Beyer, Mrs. H—, Miss Wilding, Miss Mackenzie, Keomi, Ellen Smith, Miss Graham, Mrs. Stillman, Mrs. Sumner, etc.—Remarks on Mrs. Morris as his type—His letter to the Athenæum as to his being a painter in oils—Shields on Rossetti's use of compressed chalk—Purchasers of his works, Leathart, Rae, Graham, Leyland, Valpy, Mitchell, Craven, Lord Mount-Temple, Colonel Gillum, Trist, Gambart, Fairfax Murray—Insufficiency of Rossetti's studio, and its ultimate alteration—Dunn succeeds Knewstub as his art-assistant—Large income made by Rossetti in 1865 and other years—His friendly relations with purchasers—His work 1862-3, in connexion with Gilchrist's Life of Blake . . . 238

Rossetti's animals at Cheyne Walk—His notions about ghosts—The wombat, woodchuck, and zebu—Attempts to communicate with his deceased wife by table-turning—The Burlington and other Clubs—The Bab Ballads—Rossetti houses Sandys for a while, and George Chapman—Other friends—Charles Augustus Howell, who becomes Ruskin's secretary—Bell Scott and Woolner— Intimacy with Ruskin comes to an end—Extracts from Ruskin's letters in 1865—Rossetti collects works of decorative art, especially blue china and Japanese prints—Buys a picture by Botticelli     251

Rossetti generally healthy in youth—1866, a complaint requiring surgical treatment—1867, insomnia, and failure of eyesight—

Rossetti re-visits Penkill, 1869—Urged, in 1868, by Scott to “live for his poetry”—Sonnets previously published in 1868, others in 1869—Estimate for printing—Poems written at Penkill, 1869 —Alleged impulse towards suicide—Fancy about a chaffinch—“A curiously ferocious look”—Poems printed, not for immediate publication—The unburying of the MS. deposited in his wife's coffin—Arrangement with Ellis as publisher—Rossetti's combination of self-reliance and self-mistrust—He is anxious to secure a favourable critical reception of the Poems at starting —Extracts on this point from my Diary and from Scott's book —Rossetti's habits as to drinking—Death of Michael Halliday —Acquaintance with Nettleship, Hake, and Hueffer—Hake's estimate of Rossetti's character . . . . . . . . . . . . . . . . . . . 270

Oil-pictures of Pandora , Mariana , Dante's Dream , Veronica Veronese , etc.—Water-colour of Michael Scott —Designs of Penelope , Dr. Hake, etc.—Details as to some of these works, especially Dante's Dream —W. A. Turner becomes a purchaser . . . 282

The Poems forthcoming—Sojourn at Scalands—Rossetti's American friend Stillman, who recommends chloral as a soporific—Rossetti's excess in chloral-dosing, washed down by whiskey, and the bad effects resulting—Publication of the Poems , April 1870—Rapid sale—Swinburne's review, extracts—Other reviews, The Catholic World, etc.—Letters from acquaintances—Adverse criticism in Blackwood's Magazine, coolly received by Rossetti—Republica-

Robert Buchanan, as Thomas Maitland, publishes in the Contemporary Review an attack thus entitled on Rossetti's Poems , October 1871 —His previous attack on Swinburne, 1866, and my Criticism— Review of my edition of Shelley, 1870— The Fleshly School enlarged and re-issued as a pamphlet—Extracts from it—Rossetti not much troubled by the review-article—A dinner at Bell Scott's —Rossetti replies, publishing, in the Athenæum , The Stealthy School of Criticism , and writing a pamphlet, which is withheld— Aggravated imputations in the pamphlet form of The Fleshly School—Buchanan's retractation, 1881-2, extracts—Summary of the facts—Quilter's article The Art of Rossetti, 1883, extract     293

Dividing line in Rossetti's life, spring 1872—He is perturbed by The Fleshly School of Poetry in its book-form, and has fancies of a conspiracy against him—Other adverse critiques—Evidences of mental unsettlement on 2 June—Browning regarded with suspicion —Rossetti not insane, but affected by hypochondria, resulting largely from chloral—Physical delusions—Mr. Marshall and Dr. Maudsley—Extract from the Memoirs of Eighty Years, written by Dr. Hake, who takes Rossetti off to his house at Roehampton —Scott's remarks—Attempt at suicide by laudanum on the night of 8 June—Mistake as to serous apoplexy—I fetch my Mother and Sister Maria, Christina being ill—Brown calls-in Marshall, who, along with Hake, saves Rossetti's life—Mental disturbance continues, and Rossetti moves into Brown's house, followed by three houses in Perthshire—Hemiplegia—Rossetti's companions in Perthshire—Extracts from Scott and Hake—Resumption of painting, and gradual recovery—Surgical treatment—Money-affairs —Sale of the collection of china, and removal of pictures to Scott's house . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Rossetti, with George Hake, returns from Scotland, and re-settles at Kelmscott Manor-house—His health and spirits at first good, afterwards re-injured by chloral—Personal details—Knows Theodore Watts as a lawyer, and soon as an intimate literary and personal friend—Fixes upon Howell as his professional agent— Advantages accruing from this connexion—J. R. Parsons, Howell's partner—Rossetti paints Proserpine , also La Ghirlandata , The Bower Maiden , The Blessed Damozel , Dante's Dream (smaller replica), The Roman Widow —Re-publishes Dante and his Circle —Nonsense-verses—Recurrence of gloomy fancies—Scott's cheque for £200—Quarrel with anglers—Rossetti leaves Kelmscott in July 1874, and never returns thither . . . . . . . . . . . . 321

Discussion of Bell Scott's statements about Rossetti's seclusion, his desertion by old friends, George Hake, Browning, his new friends, his want of candour—Rossetti's condition of health and mental tone—Theodore Watts—Rossetti goes to Aldwick Lodge, Bognor —Libel-case, Buchanan, v. Taylor—Goes to Broadlands—The Mount-Temples and Mrs. Sumner—“Deafening” of Rossetti's studio—Mesmerism—Surgical operation, as narrated by Watts— Stay at Hunter's Forestall—Disappearance of letters—Details as to chloral—Brown ceases to see Rossetti for some months— Renewal of lease in Cheyne Walk—Death of Oliver Brown, and Rossetti's impression as to his posthumous writings—Death of Maria F. Rossetti . . . . . . . . . . . . . . . . . . . . . . 331

Dissolution of the Partnership, Morris, Marshall, Falkner, & Co., 1874 —Rossetti obtains possession of the portrait of him painted by G. F. Watts, R.A.—He drops his connexion with Howell, 1876, and the reasons for this—Drawings falsely attributed to Rossetti —Fluctuations in his income—Funds for the families of James Hannay and J. L. Tupper, and exertions to benefit James Smetham —Declines to exhibit in the Grosvenor Gallery, 1877—An exception, for the benefit of an art-institution, to his system of not

Pictures of The Blessed Damozel , Dante's Dream (replica), La Pia , La Bella Mano , Venus Astarte , The Sea-spell , Mnemosyne , Beata Beatrix (finished by Madox Brown), A Vision of Fiammetta , La Donna della Finestra , The Daydream —Designs of The Sphinx , The Spirit of the Rainbow , Perlascura , Desdemona's Death-song , Sancta Lilias , The Sonnet —Water-colour, Bruna Brunelleschi — Details as to The Sea-spell , Vision of Fiammetta , Daydream —Scott's narrative as to The Sphinx —Details as to Desdemona's Death-song and Bruna Brunelleschi — Haydon's Etching of Hamlet and Ophelia —Caine's account as to how Rossetti resumed poetical composition towards 1878— Sonnet on Cyprus—Other Sonnets— The historical ballads, The White Ship and The King's Tragedy — The Beryl-songs in Rose Mary . . . . . . . . . . . 362

In July 1881 Hall Caine becomes an inmate of Rossetti's house—His somewhat trying position there—Dunn leaves the house— Dante's Dream returned to Rossetti, at his own wish, by Valpy, who is to receive other works in exchange—Caine suggests to the authorities of the Walker Gallery, Liverpool, the purchase of this picture—Alderman Samuelson favours the proposal—Mr. R. and his proceedings in the same matter—Purchase carried out for £1,650, September 1881—Recognition by Rossetti of the friendliness of Caine and Samuelson—Transactions with Valpy and Graham—March 1881, Rossetti contemplates bringing out a new volume, Ballads and Sonnets , and re-issuing, in a modified form, the Poems of 1870—Publishing-arrangements, and rapid sale of Ballads and Sonnets in October—Proposed ballads on Joan of Arc, Abraham Lincoln, and Alexander III. of Scotland —Critics favourable to the new volume—Rossetti derives little pleasure from these successes . . . . . . . . . . . . . . . . . 369

Rossetti's state of health: blood-spitting, etc.—He goes with Caine to the Vale of St. John, Keswick, September 1881—Returns worse than he went—“Absolution for my sins”: Scott's narrative, and observations on Rossetti's opinions upon religion—Paintings: Salutation of Beatrice , duplicates of Proserpine and of Joan of Arc , Donna della Finestra —Visit from Dr. and Philip Marston— Quasi-paralytic attack and discontinuance of chloral—Account by Caine, and extracts from my Diary—Scott and Morris on the same subject—The Medical Resident Henry Maudsley, and the Nurse Mrs. Abrey—Rossetti, with Caine and Miss Caine, goes to Birchington-on-Sea—Scott's remarks on Rossetti's later years— Miss Caine's reminiscences . . . . . . . . . . . . . . . . . 375

Birchington and Westcliff Bungalow—Rossetti's condition there—He is joined by his Mother and Sister—Other friends—Paintings of Proserpine and of Joan of Arc , and sketches of his Father [ sketch 1] for Vasto—Ballad of Jan van Hunks , and Sonnets on The Sphinx — Novel-reading—Correspondence with Joseph Knight and Ernest Chesneau—Extracts from Mrs. Rossetti's Diary . . . . 390

My visit to Birchington, 1 April 1882—Extracts from my Diary, showing Dante's very grave condition of health—Extracts from Mrs. Rossetti's Diary, 4 to 9 April—Rossetti's death, 9 April—My memorandum of it—His will—Arrival of Lucy Rossetti and Charlotte Polidori—The funeral, further extracts from Mrs. Rossetti's Diary, and letter from Judge Lushington—The tombstone, stained-glass window, and monument in Cheyne Walk     395

Rossetti's character—Canon Dixon's statement—Remarks by Knight, Patmore, and Watts—His appearance—His feeling as to the

Decision not to offer my own criticism on this matter—Extracts: upon Fine Art, Leighton, Royal Scottish Academy, Hunt, Stephens, Quilter, Ruskin, Smetham, Shields, Hake, Rod, Mourey, Sartorio —Upon Literature, Swinburne, Watts, Caine, Forman, Knight, Hueffer, Sharp, Mrs. Wood, Patmore, Myers, William Morris, Pater, Madame Darmesteter, Skelton, Sarrazin, Gamberale— other Translators and Critics named . . . . . . 423