DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61290#0170
138 DANTE ROSSETTI
restful bed, and kissing the feet of the crucifix
above her as she draws from her bosom the “ old
letters breathing of her worth.”
In the design for “ The Lady of Shalott ”
Holman Hunt exhibits traces—very unusual for
him—of the influence of Rossetti upon his own
work. For pathetic dignity and sensuous grace,
the entangled lady, girt about with the web of
dreams, might well stand among Rossetti’s children,
and not be detected as of other birth. Rossetti’s
own “ Lady of Shalott ” is much less fair a type,
and belongs to the earliest and most archaic manner
of his Arthurian period. Much more characteristic
of the painter’s individuality is Holman Hunt’s
“ Oriana,” a grave, strong woman like his later
Madonnas, whose mien belies the conventional sex-
theory which ascribes to man alone the “ wisdom-
principle,” and assigns to womanhood the principle
of “ love.”
Rossetti, again, seems to have been largely in-
fluenced by Madox Brown in his illustration to
“ The Palace of Art,” save for the highly charac-
teristic drawing of the girl at the organ, whose
pose is almost identical with that of the dead
Beatrice in “ Dante’s Dream,” of a much later
date. “ Sir Galahad” is, however, entirely original
in manner, and represents the best level of Ros-
setti’s Arthurian designs. It shows the knight
halting, weary but not dispirited, at a wayside
restful bed, and kissing the feet of the crucifix
above her as she draws from her bosom the “ old
letters breathing of her worth.”
In the design for “ The Lady of Shalott ”
Holman Hunt exhibits traces—very unusual for
him—of the influence of Rossetti upon his own
work. For pathetic dignity and sensuous grace,
the entangled lady, girt about with the web of
dreams, might well stand among Rossetti’s children,
and not be detected as of other birth. Rossetti’s
own “ Lady of Shalott ” is much less fair a type,
and belongs to the earliest and most archaic manner
of his Arthurian period. Much more characteristic
of the painter’s individuality is Holman Hunt’s
“ Oriana,” a grave, strong woman like his later
Madonnas, whose mien belies the conventional sex-
theory which ascribes to man alone the “ wisdom-
principle,” and assigns to womanhood the principle
of “ love.”
Rossetti, again, seems to have been largely in-
fluenced by Madox Brown in his illustration to
“ The Palace of Art,” save for the highly charac-
teristic drawing of the girl at the organ, whose
pose is almost identical with that of the dead
Beatrice in “ Dante’s Dream,” of a much later
date. “ Sir Galahad” is, however, entirely original
in manner, and represents the best level of Ros-
setti’s Arthurian designs. It shows the knight
halting, weary but not dispirited, at a wayside