e 231: See _Essays of Elia,_ "The Superannuated Man."

Footnote 232: In the first essay, "The South Sea House," Lamb assumed as
a joke the name of a former clerk, Elia. Other essays followed, and the
name was retained when several successful essays were published in book
form, in 1823. In these essays "Elia" is Lamb himself, and "Cousin Bridget"
is his sister Mary.

Footnote 233: See histories for the Congress of Vienna (1814) and the
Holy Alliance (1815).

Footnote 234: For full titles and publishers of general reference books,
see General Bibliography at end of this book.

Footnote 235: An excellent little volume for the beginner is Van Dyke's
"Poems by Tennyson," which shows the entire range of the poet's work from
his earliest to his latest years. (See Selections for Reading, at the end
of this chapter.)

Footnote 236: Tennyson made a distinction in spelling between the _Idylls
of the King_, and the _English Idyls_, like "Dora."

Footnote 237: An excellent little book for the beginner is Lovett's
_Selections from Browning_. (See Selections for Reading, at the end of this
chapter.)

Footnote 238: This term, which means simply Italian painters before
Raphael, is generally applied to an artistic movement in the middle of the
nineteenth century. The term was first used by a brotherhood of German
artists who worked together in the convent of San Isodoro, in Rome, with
the idea of restoring art to its mediaeval purity and simplicity. The term
now generally refers to a company of seven young men,--Dante Gabriel
Rossetti and his brother William, William Holman Hunt, John Everett
Millais, James Collinson, Frederick George Stevens, and Thomas Woolner,--
who formed the Pre-Raphaelite brotherhood in England in 1848. Their
official literary organ was called _The Germ_, in which much of the early
work of Morris and Rossetti appeared. They took for their models the early
Italian painters who, they declared, were "simple, sincere, and religious."
Their purpose was to encourage simplicity and naturalness in art and
literature; and one of their chief objects, in the face of doubt and
materialism, was to express the "wonder, reverence, and awe" which
characterizes mediaeval art. In its return to the mysticism and symbolism of
the mediaeval age, this Pre-Raphaelitism suggests the contemporary Oxford or
Tractarian movement in religion. (See footnote, p. 554).

Footnote 239: Arnold was one of the best known poet