nting." Delivered at Edinburgh in
1853. Lecture iv., "Pre Raphaelitism."

[6] _Cf._ Milton: "Each stair mysteriously was meant" ("P. L.").

[7] "Dante Gabriel Rossetti: a record and a study," London, 1882, pp.
40-41.

[8] "Pre-Raphaelitism," p. 23, _note_.

[9] "Autobiographical Notes of William Bell Scott," vol. i., p. 281.

[10] "English Contemporary Art," p. 58.

[11] "Lectures on Architecture and Painting," 1853.

[12] See vol. i., p. 44.

[13] "The return of this school was to a mediaevalism different from the
tentative and scrappy mediaevalism of Percy, from the genial but slightly
superficial mediaevalism of Scott, and even from the more exact but
narrow and distinctly conventional mediaevalism of Tennyson. . . .
Moreover, though it may seem whimsical or extravagant to say so, these
poets added to the very charm of mediaeval literature, which they thus
revived, a subtle something which differentiates it from--which, to our
perhaps blind sight, seems to be wanting in--mediaeval literature itself.
It is constantly complained (and some of those who cannot go all the way
with the complainants can see what they mean) that the graceful and
labyrinthine stories, the sweet snatches of song, the quaint drama and
legend of the Middle Ages lack--to us--life; that they are shadowy,
unreal, tapestry on the wall, not alive even as living pageants are. By
the strong touch of modernness which these poets and the best of their
followers introduced into their work, they have given the vivification
required" (Saintsbury, "Literature of the Nineteenth Century," p. 439).
Pre-Raphaelitism "is a direct and legitimate development of the great
romantic revival in England. . . . Even Tennyson, much more Scott and
Coleridge and their generation, had entered only very partially into the
treasures of mediaeval literature, and were hardly at all acquainted with
those of mediaeval art. Conybeare, Kemble, Thorpe, Madden were only in
Tennyson's own time reviving the study of Old and Middle English. Early
French and Early Italian were but just being opened up. Above all, the
Oxford Movement directed attention to mediaeval architecture, literature,
thought, as had never been the case before in England, and as has never
been the case at all in any other country" ("A Short History of English
Literature," by G. Saintsbury, London, 1898, p. 779).

[14] "Recollections of Dante Gabriel Rossetti," by T. Hall Caine, London,
1883, p. 41.