\ Yale Center for British Art and British Studies - -• ^jyiiigaR : BBViafewj.: V ¦.:fi;t: ||- CITY OF BlimiNGHAM ¦ OF THE BV aR EDWARD BtJRNEJONES AND DANTE GABRIEL ROSSETTI, PRICE ONE PENNY. > '^^3 V BIRMIKOHAM ' ' PiinTKD av Hudson kHo Sow, £cv0hu St akd Livkrt Sr t EnrrciuiD at <>riM^o{isBS Bau. 1 -' - ' ,** 'i ¦ ' ¦' :"¦'- .¦"-,.-.'- ^v.. "* *i . ¦ " .' '.'".¦:¦¦ r-^'i*^-.^ -K'"-^' ilLiilife - - «!i ItF liE ttst litMtf -^'¦. ,,.'?*¦>'/¦¦¦ ' ¦ •A. ¦ ¦ *¦!-— >l»--«f*l" -• '>;¦'.•!•>'•¦'.'' •'.tjstj*:. ;^;;^ii5graxtt^}^*f;;;-;'':f iiwi»^e;;DS32^4J^ .itt^ of ^tr m in g^attt . MUSEUM AND ART GALLERY. CATALOGUE OF THE BY SIR EDWARD BURNE=JONES AND DANTE GABRIEL ROSSETTI, Presented to the City in 1903. BIRMINGHAM : Hudson -and Son, Edmund Street and Livery Street. 1904. Cit^ of Birmingbam. A A MUSEUM S ART GALLERY. /HSueeum an& Scbool of art Coninnttce— THE LOED MAYOE, Alderman Sir Hallewell Eogers. Alderman the Eight Hon. William Kenrick, P.O., Chairman. Councillor Davis FallowsCharles Green HeeleyJohnstone Murray Mr. C. Napier Clavbring Mr. J. A. CossiNS Arthur S- Dixon C. J. Hart W. E. Haseler J. E. Holliday Jonathan Pratt Edwin Smith IFteepcr of tbe /iRiiseum anO Bn (Ballerg— Mr. Whitworth Wallis, F.S.A. Assistant— Mr. Arthur Bensley Chamberl.a.i.\. Secretary — Mr. W. S. Pritchett. HOURS OF OPENING. Monday, Tuesday, Thursday and Saturday - Throughout the year Wednesday and Friday — Winter Season (Oct. 1 to Mar. 15) Summer Season (Mar. 16 to Sept. 30) Sunday — Throughout the year 10 till 9. 10 till 4. 10 till 6. ¦2 till 5- ASTON HALL. W^^^ I^A^« From 10 a.m. till dusk. Sundays -Summer 2 p.m. till 5 p.m. ^^t*^^' 2 p.m. till 4 p.m. ¦ ¦ » Closed on Good Friday and Christmas Day. A.DIVEISSXON' FltEE, Prefatory Note, This important collection of drawings and studies by Sir Edward Burne-Jones and Dante Gabriel Rossetti, which was formed by a well-known collector during a period extending over many years, was purchased for presentation to the City of Birmingham Art Gallery by the five gentlemen mentioned in the following letter : — " 101 Harborne Eoad, " Edgbaston. '•My dear Lord Mayor, — "On behalf of the Eight Hon. W. Kenrick, Mr. C. A. Smith-Eyland, Mr. John Feeney, and Mr. Cregoe Colmore, as well as for myself, I wish to offer for presen tation to the Corporation, as a gift to the Art Gallery, a collection of drawings and studies which will be acquired for that purpose. The collection comprises about two hundred and sixty drawings, studies, and sketches by Dante Gabriel Eossetti, two hundred and twenty-six by Sir Edward Burne-Jones, a portrait in pastel by Ford Madox Brown, a portrait by Frederick Sandys, and a water-colour drawing by G. P. Boyce. A large number of the drawings and studies require to be framed and mounted. This work is being proceeded with, but it will be some little time before the collection will be ready for exhibition. It is thought best, however, not to defer the offer which we have the pleasure to make. I am, yours very truly, "J. E. Holliday." This letter was read at the meeting of the Birmingham City Council on May 6th. 1903, when the offer contained in it was unanimously accepted. At the .'*ame meeting a letter was received from Mr. John T. Middlemore, M.P., presenting to the Art Gallery the fonr paintings by Burne-Jones, illustrating the story of " Pygmalion and the Image," as a token of his appreciation of the genorosity of Mr. Holliday and his colleagues. Catalogue. DRAWINGS AND STUDIES BY SIR EDWARD BURNE-JONES. Studies for Designs for Stained Glass, Tapestry, &c. 1. Study for St. Christopher, with the Infant Christ seated on his shoulder. For stained glass. Pencil. (152'04) 2. Nude Study for the figure of St. Christopher, standing to left, holding his staff in both hands. Pencil. (153'04) 3. Nude Study for the figure of St. Christopher, more complete than No. 2 ; with four separate studies for the hands on the right edge of the sheet. Pencil. (154'04) 4. Two Studies for Bishop's Vestments on the same sheet. For stained glass. Pencil, delicately touched with red chalk. (157'04) 5. Drapery Study for a figure of David, playing the harp. The harp not indicated. For stained glass. Pencil, the background touched with red wax chalk. (143'04) 6 . Drapery Study for a figure of Moses, holding the Tables of the Law. For stained glass. Pencil. (142'04) 7. Study of a Cloak, for a figure of St. Nicholas, standing to right. The figure is not indicated. For stained glass. Pencil. On the reverse, the upper half of a female figure with her hand above her head ; the right arm not indicated. Pencil and red wax chalk. (146'04) 8. Study for Cloak Drapery, male figure standing to left, holding a staff in his right hand. Probably for a figure of St. John tbe Baptist. For stained glass. Black and white chalk on brown paper. (148'04) 9. Drapery Study for the figure of a Young Man, holding a staff in his right hand and a palm branch in his left. Full face. Probably a study for stained glass. Pencil. (103'04) 10. (i.) Drapery Study for the figure of a Girl, holding a garland in her left hand, the head turned to the right. This is a study for the Garland Weavers, a series of designs for the dining-room windows of the South Kensington Museum. Pencil. (27'04) (ii.) Drapery Study for one of the Garland Weavers, the figure to left, nearly in profile. Pencil, with red wax chalk background. (25'04) (iii) Drapery Study for one of the Garland Weavers, figure more to the front, head turned to the left, holding a garland in her left hand. Pencil. (26'04) 11. (i.) Drapery Study for one of the Garland Weavers, with back to the spectator, plucking roses. Pencil' with red wax chalk background. (¦28'04) (ii.) Drapery Study for one of the Garland Weavers figure standing to the right, holding her drapery in her right hand. Pencil. (30'04) (iii.) Drapery Study for one of the Garland Weavers in the same position as 11 (i.). Pencil and red wax chalk. (29'04) 12. (i.) Drapery Study for one of the Garland Weavers, plucking flowers, holding her drapery in her left hand. Back view, standing to right. On the right side of the sheet a second study for the lower portion of the drapery. Pencil. (31'04) (ii.) Drapery Study for one of the Garland Weavers, holding her drapery in her right hand and the left by her side. Pencil, yellow wax chalk background. (32'04) (iii.) Drapery Study for one of the Garland Weavers, singing, a musical instrument in her hands. The last figure in the series. Pencil. (33'04 13. Drapery Study for the figure of an Angel leading a Girl by the hand. The figure of the Girl is mutilated. Both stand to the right, and the Angel is heavily cloaked. Study for stained glass in Lyndhurst Church. Pencil. (147'04) 14. Drapery Study for a figure of St. Catherine, holding a sword in her right band, the left resting on her wheel. For stained glass. Pencil and red chalk. (151*04) 15. Study for a figure of St. John, holding a cup in his right hand, standing to right. For stained glass. Pencil. (150'04) 16. Drapery Study for the figure of a Man, standing to left, holding a banner in his right hand, the left resting on his hip, the legs bare. For stained glass. Black and white chalk on brown paper. (158'04) 17. Drapery Study for a figure of Charity, holding two children in her arms, and four others clinging to the drapery at her knees. For stained glass, and the cartoon afterwards finished as a water-colour drawing. Pencil. (155'04) 18. Another Study for the drapery only of the figure of Charity (No. 17). Pencil. (156'04) 19. Drapery Study for the figure of a Young Woman with an inverted torch in her left hand. The right arm is imperfect. Full length, standing to left. Pencil and red wax chalk. * 20 Poetry, represented by a young girl enthroned, playing on a pipe. Below, a group of young girls playing musical instruments at the foot of the throne. Above the head of the principal figure is a scroll inscribed " Poesia." On the margin of the sheet are a number of sbght sketches for other compositions belonging to the same series. One of a set of designs made for Mrs. Jekyll, to be executed in embroidery. Pencil. (190'04) 21. Sketch for the last one of the series of five pencil draw ings illustrating the Song of Solomon, representing a group of girls round a tree, gazing towards a rocky gorge from which Solomon, crowned, emerges supporting the bride of Lebanon — ' ' Who is this that cometh out of the wilderness leaning upon her beloved ? " Pencil. (189'04) 22. Sketch for "Chaucer's Dream of Good Women," the first design for a series of tapestries, the cartoons of which were not wholly completed. Several of of them were in the possession of Mr. Euskin, and are now at Oxford, the finest of the series being the "Love and Alcestis, " which served later for tbe water-colour of " Chaucer's Dream," which belonged to Lord Leighton. It was intended that these tapestries should be worked entirely by members of the artist's family and friends, and the names of the intended executors are inscribed above the figures in the sketch. Chaucer appears to the left in the act of writing. Then follow in succession the figures of Love and Alcestis, Cleopatra, Thisbe, Hypsiphile, Medea, Ariadne, Lucretia, Philomela, and following on the reverse of the sheet, Hypermnestra and Phyllis, concluding with the King and Queen. The background is a rose-trellis, with trees between the figures, the foreground varying from flowery field to shell-strewn shore, according to the personages repre sented. The King and Queen are seated. Buildings are seen above the hangings to the throne. Pencil. (13'04) 23. (i.) Drapery Study for the figure of Hypermnestra in "Chaucer's Dream of Good Women." Pencil. (14'04) (ii.) Drapery Study for the figure of Phyllis (?) in "Chaucer's Dream of Good Women. " Pencil. (17'04) (iii.) Drapery Study for the figure of Lucretia in " Chaucer's Dream of Good Women. " Pencil. (15'04) 24. Two Drapery Studies for the figure of Philomela in "Chaucer's Dream of Good Women," on one sheet. Pencil. (16'04) Studies for the Picture of " The Tates," 1865. 25, Sketch for the unfinished picture of "The Fates" or "The Lovers," begun in 1865, a composition of five figures. Brush drawing in sepia, heightened with white chalk, on brown felt paper. (1'04) 26. Nude Study for the figures of the Lovers in "The Fates. ' ' Eed wax chalk. {4'04) 27. Study for the figure of one of "The Fates," in classic drapery, seated, reading from a book on her knees. Pencil and red wax chalk. (7'04) 28. Three Nude Studies on one sheet, either for the figure of the Woman Lover in "The Fates," or for the figure of Psyche in "Cupid Awakening Psyche." See Nos. 90 and 92. Black and white chalk on brown paper. (231'04) 10 29. Three Studies on one sheet for the figures of "The Fates;" nude studies for the arms and shoulders. Black chalk on grey paper. (S'O*) 30. Two Nude Studies on one sheet for the figures of the Lovers in " The Fates." Eed wax chalk. (3'04) 31. Nude Study for the figures of the Lovers in " The Fates. Eed wax chalk. (2'04) 32. Nude Study for the head and shoulders of the Man Lover in " The Fates. " Eed wax chalk. (5'04) 33. Study for the figure of one of "The Fates," seated, reading from a book on her knees. Pencil. (6'04) Studies for the Picture of " The Hours, ' ' i86^. 34. Study for one of the figures in " The Hours." Eed chalk. (223'04) 35. Drapery Study for the lower half of one of the figures in " The Hours." On the same sheet is a Study for the feet and lower part of the drapery of one of the figures. Pencil. (211'04) 36. Study for one of the figures in "The Hours." She holds a cup in her left hand, and a book open upon her knee. Only the upper half of the figure is drawn in. Eed chalk and pencil. (210'04) 37. Three Nude Studies on one sheet for the figures in "The Hours." One is washing her hands, another has her left arm raised to her mouth and the right hand on her knee, and the third has her left arm resting on the arm of a chair and her right on her knee, as in the previous study. In each case only the upper half of the figure is drawn in. The two first mentioned are in red chalk and pencil, the third in red chalk only. (212'04) 11 38. (i.) Drapery Study for one of the figures in "The Hours," seated to front. She holds a distaff in her left hand and a spindle in her right, and is looking towards the left. Pencil and red chalk. (208'04) (ii.) Drapery Study for one of the figures in " The Hours, " seated to front. She is asleep, her left arm sup ported on the arm of a chair, the right hanging over the back, and her head leaning over towards the left shoulder. Pencil and red chalk. (209'04) Studies for the Water-colour 'Dralving of " The Lament, " 1865-66. 39. Two Studies on one sheet for one of the two figures in the water-colour drawing of "The Lament." She is seated to the left, the left leg crossed over the right, and resting her head on her clasped hands. In the second study, on the right of the sheet, only the upper part of the figure is drawn in. Pencil. (203'04) 40. Two Nude Studies on one sheet, the upper one of which is for the figure in No. 42, with the right knee crossed over the left. The study on the lower half of the sheet represents the . model resting. In this the left knee is crossed over the right, the head resting on her left hand, and the elbow supported on the raised left knee. Eed wax chalk. (206'04) 41. Two Studies on one sheet for the lower part of the Drapery for one of the figures in "The Lament." In both the left leg is crossed over the right. Pencil and red chalk. (205'04) 42- Study for one of the figures in " The Lament," the right leg crossed over the left, and the left arm bare to the elbow. Pencil. (204'04) 12 43. Study of a Girl seated to left, holding her left knee with her clasped hands, the left arm bare to the elbow. This is a study from the model used for " The Lament," while resting. Eed chalk and pencil. (207'04) Studies for the Water-colour Dr giving of "" Qreen Summer, ' ' 1863-64. 44. Study for the figure of the Girl seated in the front in the water-colour drawing of " Green Summer." Her back is turned to the spectator. She is leaning on her left hand, her right placed on the drapery which covers her feet, and her long sleeves trailing on the ground at her back. Eed wax chalk and pencil. (193'04) 45. Drapery Study for the principal figure in " Green Summer." She is seated to front, the left knee raised, her hands clasped in her lap, listening to the reading. Eed wax chalk and pencil. {191'04) 46. Study for the Girl reading in " Green Summer," seated in profile to left, holding the book in her lap with the left hand against her raised knee, and following the text with the fingers of her right. She wears a hnen headdress. On the right of the sheet a study m pencil, on a larger scale, for the buckle of her belt. Eed wax chalk and pencil. (192'04) Studies for the series of Pictures illustrating the "Story pf St. George," 186^-66. 47. Nude Study for the figure of St. George killing the Dragon, with two separate studies for the right arm and hand holding the sword. This study and No 51 were the ones finally used. Eed wax chalk and pencil, with background in red chalk. (85'04) 13 48. Nude Study for tbe figure of St. George killing the Dragon, the right arm outstretched, thrusting down wards. The figure is nearly in profile. Eed wax chalk. (81 '04) 49. Nude Study for the figure of St. George killing the Dragon, the action somewhat similar to that in No. 48, but the right arm is lower, and covers the lower half of the face. The figure is nearly in profile. Eed wax chalk. (82'04) 50. Nude Study for the figure of St. George killing the Dragon, the upper half of the figure bent back, the sword arm nearly straight. This study, and Nos. 48, 49, and 52, were none of them used. Eed wax chalk. (83'04) 51. Nude Study for the figure of St. George killing the Dragon. This study, and No. 47, were the ones finally used. Pencil, the background in red chalk. (84'04) 52. Nude Study for the figure of St. George killing the Dragon, holding his sword above his head, and his shield on his left arm. Eed wax chalk. (80'04) 53. Sketch for St. George killing the Dragon. He is bending over the Dragon to the left, with his sword piercing its body, and his shield thrust between its open jaws. Black and white chalk on brown paper. (12'04) 54. Study of Feet for the Flower Girls in the " Eeturn of St. George." Black and white chalk on brown paper. (218'04) 55. (i.) Studies for the Arms and Hands of the first and third Flower Girls, and the Arm of the Princess, in the " Eeturn of St. George." Black and white chalk on brown paper. (9r04) 14 (ii.) Studies for the Arms and Hands of the Princess, and for the Arms and Hands of one of the Flower Girls, in the "Eeturn of St. George." Black and white chalk on brown paper, (79'04) 56. (i.) Three Studies of Ostrich Feathers. Black and white chalk on brown paper. (9304) (ii.) Two Studies of Helmets, front and side view ; three studies of Feathers ; and a sketch of a Girl's Head in profile to the right. Black and white chalk on brown paper. (92'04) 57. (i.) Study for Flying Drapery for St. George's Cloak in "St. George killing the Dragon." Black and white chalk on brown paper. (78'04) (ii.) Study for Flying Drapery for the left shoulder only, the figure not indicated. Not one of the studies for the St. George series, but possibly one for the draperies of the figure of Winter, No. 131. Pencil. (129'04) 58. Study for the figure of the seated King, hstening to the reading of the Petition, with two other Drapery Studies for standing figures, one in the centre, reading, and the other to the right. Black and white chalk on brown felt paper. (95*04) 59. Study for the figure of the seated King in " The Bones brought to the King in the Orchard," the second picture of the series. He holds his chin in his left hand, the right on his hip. Eed wax chalk and pencil. (59*04) 60. Study for the figure of the Councillor, who stands by the King, in "The Bones brought to the King in the Orchard," the second picture of the series. Eed wax chalk and pencil. (60'04) 15 61. Study for the figure of the Princess kneeling to the right in "St. George killing the Dragon." The figure is nearly in profile, with the head to the front over the right shoulder, but was not used. Pencil. (76*04) 62. Two Nude Studies on one sheet for the figure of the Soldier in attendance on the Princess in " Drawing the Lot," holding a spear across his shoulder in his right hand. The figure is seen from the back. Black chalk heightened with white on brown felt paper. (73*04) 63. (i.) Study for the figure of the Princess tied to the Tree. Her arms are behind her, whereas they are in front in the finished picture. Pencil. (65*04) (ii.) Sketch for the figure of a young Girl, seated to right, playing a musical instrument. Not one of the studies for the " St. George " series, but probably a design for decoration. Pencil. (215'04) (iii.) Study for a part of the Drapery of the Princess tied to the Tree, a later study than the above. Pencil and red chalk. (66*04) 64. Study for the figure of the Princess walking in the Garden, standing to left, the right hand only slightly indicated, the left holding her girdle. Half- length figure only. Eed wax chalk and pencil. (58*04) 65. Study for the figure of the Princess walking in the Garden, standing to left, a book in her right hand. The figure was afterwards reversed. Half-length figure only. Eed wax chalk and pencil. (57'04) 66. Study for the figure of the Princess in "Drawing the Lot," standing to the right, with the fatal paper in her hand. This study was not used. Eed wax chalk and pencil. (64*04) 16 67. Study for the figure of the Princess in "Drawing the Lot," standing to right, the right hand holding the drapery at her side, the left outstretched. She wears a garland in her hair. Eed wax chalk and pencil. (67'04) 68. Study for the Sleeves of the figure of the kneeling Princess in "St. George killing the Dragon." Eed wax chalk and pencil. (77*04) 69. Study for Sleeve Drapery for the figure of the Princess in the " Eeturn of St. George." Not used. Pencil. (94'04) 70. Study for the figure of one of the Attendants of the Princess in "Drawing the Lot." Eed wax chalk and pencil. (63*04) 71. Study for the figure of one of the Attendants in "Drawing the Lot," standing to right, with bare arms, holding her caught-up drapery with her right hand ; a long drapery depends from the head. Eed wax chalk and pencil. (69*04) 72. Four Studies on one sheet for the Attendants of the Princess in "Drawing the Lot." All four figures are standing to the right, the last one holding a candle in her left hand. The flesh in this figure is outlined in red chalk, the rest are in pencil. (70*04) 73. Two Studies on one sheet for figures of Attendants of the Princess in "Drawing the Lot," holding candles m their right hand, and one with her drapery held in her left. Eed wax chalk and pencil. (75'04) 74. Study for the figure of one of the Attendants of the Princess in "Drawing the Lot," holding a candle in her right hand, and her drapery caught up in the left. The figure is seen to the front, nearly full face, directed to the right. Pencil and red wax chalk. (72'04) 17 75. Two Studies on one sheet for the figure of the Princess or of her Attendants in "Drawing the Lot," standing to right. Pencil and red wax chalk. (68*04) 76. Study for the figure of the Princess, with one of her Attendants, in "Drawing the Lot," standing to left. Eed wax chalk and pencil. (6r04) 77. Two Studies on one sheet for figures of the Attendants of the Princess in " Drawing the Lot," standing to left. Eed wax chalk and pencil. (62'04) 78. Study for the figure of one of the Attendants in "Drawing the Lot," full length figure, standing to right, holding a candle in her right hand. Eed wax chalk and pencil. (74*04) 79. Study for the figure of one of the Attendants of the Princess in "Drawing the Lot," standing to right, and holding a candle in her left hand. Eed wax chalk and pencil. (71'04) 80. Study for the figure of "Day." Not one of the "St. George" series. Eed wax chalk and pencil, (96*04) 8 1 . Drapery Study for the figure of the second Flower Girl in " The Eeturn of St. George," standing to left, the left arm imperfect. Black and white chalk on brown paper. (89*04) 82. Nude Study for the figure of the second Flower Girl in " The Eeturn ot St. George," standing to left, the arms not indicated. Eed wax chalk. (88'04) 83. Two Studies on one sheet for the figure of the second Flower Girl in "The Eeturn of St. George," with a sketch of a head in profile to right. Black and white chalk on brown paper. (90'04) 18 84. Study for the foremost of the three Flower Girls in "The Eeturn of St. George." In the left upper corner of the sheet is a study for a Girl bending down. Black chalk heightened with white on brown paper. (86*04) 85. Nude Study for the figure of the second Flower Girl in "The Eeturn of St. George," standing- to left, the arms not indicated. Eed wax chalk. (87*04) Studies for the series of subjects illustrating the Story of Cupid and Psyche from the " TLarthly Paradise," begun in 1865. 86. Study for the upper part of the figure of Psyche in " Cupid Awakening Psyche." The shoulder drapery is complete, but without the arms, and the drapery over the knees is only slightly indicated. Black and white chalk on brown paper. (199*04) 87. Study for the figure of Psyche in "Cupid Awakening Psyche. ' ' Black and white chalk on brown paper. (222'04) 88. Study for the figure of Psyche in " Cupid Awakening Psyche." Black and white chalk on brown paper. On the reverse of the sheet a half-length figure of a woman holding a child. (200'04) 89. (i.) Drapery Study for the figure of Psyche in "Cupid Awakening Psyche." Black and white chalk on brown paper. (198*04) (ii.) Drapery Study for the figure of Psyche in "Cupid Awakening Psyche." She is kneeling on the right knee, the left raised. The arms are not indicated. Black and white chalk on brown paper. On reverse of the sheet a slight charcoal sketch for the figure of Psyche abandoned to the Dragon. (197*04) 19 90. Nude Study for a figure of Psyche, full length, standing to front, the arms incomplete. Eed wax chalk. (194'04) 91. (i.) Study of the flying Drapery above the head of Psyche in " Cupid Awakening Psyche." Pencil touched with the brush in sepia. (201'04) (ii.) Small Nude Study of a ¥/oman, seated, with left leg crossed over right. On the left of the sheet a study of the head and shoulders of a Woman, in profile to right. Probably both studies for the "Cupid and Psyche " series. Black and white chalk on brown paper. (228*04) 92. Two Nude Studies on one sheet of the figure of a Woman, probably for the "Cupid and Psyche" series of design. Eed wax chalk. (10*04) 93. Nude Study of the figure of a Woman, standing, resting on her left arm, the right raised above her head. Probably a study for the figure of Psyche. Charcoal, yellow wax chalk and pencil. (124*04) Studies for the Picture of " St. TReophilus and the Angel," i866. 94. Nude Study for the figure of the Executioner, in profile to right, holding his sword in both hands. Eed chalk and pencil. (177*04) 95. Nude Study for the figure of the Angel, the left arm incomplete. Pencil and red chalk. (164*04) 96. Study of the flying Drapery for the figure of the Angel, the right side of the figure only. Pencil, heightened with Chinese white, on grey-green paper. (167*04) 97. Drapery Study for the figure of the Angel, the right hand and the left arm not indicated. Pencil. (166'04) 20 98. Drapery Study for the figure of the Angel, the cloak only drawn in, holding a flower basket with both hands, the right enveloped in drapery. Pencil and red chalk. ('^^'0*^ 99 Two Studies on one sheet for the figure of the Angel, holding a flower basket in both hands, the second study showing the lower portion of the drapery only. Pencil and red chalk. (168*04) 100. (i.) Drapery Study for the figure of a Woman, full length, standing to right, back view, in outline only. Probably not a study for the picture. Eed wax chalk. •^ (10r04) (ii.) Early Study from a Boy for the figure of the Angel, standing to right in profile, holding a branch in his right hand, the left raised. Eed chalk, (165*04) 101. Nude Study for the figure of the Angel, the left arm not seen, Eed chalk and pencil, (178'04) 102, (i.) Study for the figure of one of the Mourners bearing the body of Dorothea, Pencil and red chalk. (170*04) (ii.) Study for the figure of one of the Mourners, the shoulder more raised than in the preceding study. Eed chalk. (172*04) (iii.) Study for the figure of one of the Mourners. Eed chalk. (171*04) 103. Study for the figure of St. Dorothea, carried by the Mourners, the head turned to the left. Pencil. (176*04) 104. (i.) Drapery Study for the figure of the Angel, standing to right, wearing a tunic and cloak, and holding a bowl or flower basket in both hands. Eed chalk. (160'04 21 (ii.) Drapery Study for the figure of the Angel, standing to right, wearing a tunic and cloak, and holding a bowl or flower basket in both hands. Eed chalk. (159*04) 105- (i.) Study for the figure of Theophilus, only the drapery over the right shoulder finished. Eed chalk. (182'04) (ii.) Study for the figure of Theophilus, holding a book with both hands, standing to left, and looking back over his shoulder to right, the left hand enveloped in his drapery. Pencil and red wax chalk. (169*04) 106. Three Studies on one sheet for the figure of Theophilus. He holds a book under his left arm, his right hand, enveloped in his drapery, holding it by the corner. The central study is for the drapery of the right hand and arm only. Pencil and red chalk. (183*04) 107. Drapery Study for the figure of Theophilus, holding a book, the left arm bare. Pencil and red chalk. (162*04) 108. Drapery Study for the figure of Theophilus, only the shoulder drapery and that of the right arm com pleted, the left arm draped (see No. 107, in which the left arm is bare). Pencil and red chalk. (163'04) 109. Drapery Study for one of the Mourners, standing to right, back view, the head bent. Pencil and red chalk. (173*04) 110. (i.) Study for one of the Mourners, standing to right, both hands enveloped in his cloak, the right hand on his hip. Pencil. (174'04) (ii.) Study for one of the Mourners, front face, his hands enveloped in his cloak, which is tightly grasped in his left hand resting on his chest. Pencil. (175*04) 22 111, (i.) Drapery Study for one of the Mourners bearing the body of Dorothea, standing to right, back view. Pencil and red chalk. (^^l'*^*' (ii.) Drapery Study for one of the Mourners, standing to right, back view, enveloped in a large cloak. Eed u 11 (180'04) wax chalk. ^ ' 112, Drapery Study for one of the Mourners bearing the body of Dorothea, only the right half of the figure drawn in. Eed chalk. (179'04> 113. (i.) Study for one of the Court Ladies in attendance on the Empress. Half-length figure to right in profile. The right arm, bare to the elbow, resting on the ledge in front. Pencil and white chalk on brown paper. , (184'0*> (ii. ) Study for one of the Court Ladies in attendance on the Empress. Half-length figure to right, her veil thrown over her head, her right hand resting on her hip, and the left holding her drapery. Pencil and white chalk on brown paper. (185'04} (iii.) Study for one of the Court Ladies in attendance on the Empress. Half-length figure to right, looking round. Her veil is thrown over her head, and she holds one end of it with her right hand, while with her left she gathers up the drapery in front of her. Pencil and white chalk on brown paper. (186*04> (iv.) Study for one of the Court Ladies in attendance on the Empress. Half-length figure, back view, the head turned to left. A veil is attached to the back of the hair, and falls over the right arm and shoulder, and she gathers her drapery round her with both hands. Pencil and white chalk on brown paper. (187'04) 23 Studies for the Water-colour Draiving of "The Wine gf Circe," 1863-69. 114. (i.) Nude Study for the figure of Circe, bending over a table, and pouring the poison into the wine. Early studies for the water-colour drawing which was begun in 1863. Black and white chalk on brown felt paper. On the reverse of the sheet a nude study of a male figure, unfinished and mutilated. (136*04) [ii.) Nude Study for the figure of Circe, wanting the right arm. Black and white chalk on brown felt paper. On the reverse of the sheet a mutilated study of drapery for a kneeling figure, in sepia heightened with white in water-colour. (137*04) 115. Two Nude Studies on one sheet for the figure of Circe, and a slight sketch for the drapery. White chalk, the lights only indicated, on brown felt paper. (135*04) 116. Two Drapery Studies on one sheet for the figure of Circe, bending over a table, and pouring the poison into the wine. Pencil and white chalk on brown paper. (130*04) 117. Two Drapery Studies on one sheet for the figure of Circe. Black and white chalk on brown felt paper, (138*04) 118. (i.) Study for the lower part of the Drapery for the figure of Circe, caught up at two points. Unfinished. Pencil. (134*04) (ii.) Study for the upper part of the Drapery for the figure of Circe. Pencil and red chalk. (131*04) (iii.) Study for the lower part of the Drapery for the figure of Circe. Pencil. (133*04) 119. Two Studies on one sheet for the lower part of the Drapery for the figure of Circe, Pencil. (132*04) 24 Studies for harious Praisings and Pictures. 120. Three Studies on one sheet for the figure of the Angel in the water-colour drawing of " Le Chant d Amour 1865. Eed chalk and pencil. (^^^ "*' 121 Study for the position of the Lover in the water-colour ¦ drawing of " Le Chant d'Amour," 1865, Water colour on brown felt paper. (^¦'^''" ' 122, Nude Study of the figure of a Man for " The Wheel of Fortune." Oil on canvas. (224 04) 123. Drapery Study for a figure of Danae. She is seated to left, resting on her left arm, the right hand raised. This is a study for a water-colour drawing which was destroyed by fire at the frame-maker's shortly after its completion. Pencil. (220'04) 124. Nude Study of a Young Woman, probably for a figure of Venus, three-quarter-length. On the same sheet are two other studies for the same figure, mutilated. Black and white chalk on brown paper. (9'04) 125. Study of two Lovers seated on the ground. A study for a water-colour drawing formerly in the possession of G. F. Watts, E.A. Charcoal and pencil. (36'04) 126- Unfinished Drawing of an Unknown Subject. A seated King in Eastern costume is receiving the members of an Embassy, one of whom, apparently in a monk's dress, is exhibiting to him the portrait of a young woman. Two courtiers stand at the side of the throne in the background. Brush drawing in sepia. (34*04) 127, Study for the Unknown Subject, No. 126, In this the King is young and beardless. The Ambassador who presents the portrait is kneeling on one knee. In the background several figures are seen in the distance through the openings of the staircase. The foreground of the composition is occupied by a blank scroll. Pencil. (35*04) 25 128, Drapery Study for the figure of the "Blessed' Damozel," Pencil. (37*04) 129- Study for one of the kneeling figures attendant upon Venus in the picture of "The Mirror of Venus," the smaller version of which was begun in 1867. The figure is seen to the front, head to left, looking up, her arms behind her back. Eed wax chalk. (98*04) 130. (i). Sketch for the figures of the goddesses Venus, Minerva, and Juno, in "The Feast of Peleus, " Half length. Pencil. Ou the reverse of the sheet a sketch of a mediseval street, spanned by two arches. Pencil. (214*04) (ii.) Small Nude Study of a Woman, seated to right, in profile. Brown chalk. (229*04) 131. Study of Flying Drapery for a figure of " Winter," the figure seen only to the knees, neariy full face, to the left. Black and white chalk on brown paper. (128*04) Various Studies. Chiefly for Drapery and Costume. 132, Study of Flying Drapery from a female model standing to right, the shoulder bare. Pencil and red wax chalk. (196'04) 133. Study of Flying Drapery from a female model standing to right. Black and white chalk on brown paper. (195*04) 134. Drapery Study for the figure of a seated Woman, holding a garland (?) in her right hand, and some object imperfectly indicated in her left. Pencil and red wax chalk. (9904) 26 135. Drapery Study for a figure of Christ in Majesty Pencil and red chalk. 136. Drapery Study for a figure of Christ in Majesty. In both this and in No. 135 the figure wears a crown the cloak drapery is finished in No. 136 only. Pencil and red chalk. 137. Drapery Study for the figure of a Young Woman playing a musical instrument, seated to right. ine face, hands, and right arm are finished in pencil, the hair and dress are reinforced with black chalk ; on purple-grey paper. The musical instrument is not drawn in. 138. (i.) Study for the figure of a seated Woman, to the front, holding a sword in her right hand and an hour-glass in her left. Eed wax chalk. (139'04) Hi.) Another Study for the above, carried further towards completion, with a separate study on the right of the sheet for the drapery of the right sleeve. Eed wax chalk. (140'04) 139. Drapery Study for a figure of a Woman, reclining towards the right. Pencil. (100*04) 140, Drapery Study for the figure of a W^oman, reclining towards the right, the head turned to the left, and the left knee drawn up. Eed wax chalk on Dutch paper. (56'04) 141. Drapery Study for the full length figure of a Woman, standing, front face, and wearing a girdle ; both arms are incomplete. Pencil and red wax chalk. (107'04) 142, (i.) Drapery Study for the figure of a Young Woman, full length, standing to left, the head to front, and looking down, both arms extended. Possibly a study for No. 175. Pencil and red wax chalk. (115*04) 27 (ii.) Drapery Study for the figure of a Young Woman, standing to left, back view, the head in profile, a cloak thrown 07er the left shoulder, covering nearly the entire figure. The hands are not drawn in. Pencil and red wax chalk, (116*04) 143. (i.) Study of a South Italian Peasant Boy, full length, standing to right. Water colour, on brown felt paper. (38'04) (ii.) Study of a South Italian Peasant Boy, back view of the above. Water colour on brown felt paper. (39*04) 144. (i.) Drapery Study for the figure of a Young Woman, standing to left, nearly in profile, both arms extended, the head turned back over the shoulder. Pencil and red wax chalk. (110'04) (ii.) Drapery Study for the figure of a Young Woman, from the same model as above, seen more to the front. A great part of the figure is only slightly in dicated, the drapery of the cloak falling over the right arm more carefully studied. Pencil and red wax chalk. (11104) 145. (i.) Drapery Study for the figure of a Young Woman, full length, standing to right, the left arm incomplete, Eed wax chalk. (102*04) (ii.) Drapery Study for the figure of a Young Woman, half- kneeling to left, and looking round, both arms extended. Pencil and red chalk. (109'04) 146. Drapery Study for the figure of a Woman, full length, standing to left, nearly in profile, the arms extended. Pencil and red wax chalk. (108*04) 147. Two Drapery Studies on one sheet for the figure of a Woman, standing to left, full length, holding a staff in the left hand ; the left arm is bare, and 28 the right hand enveloped in the drapery. The more complete of the two studies is in pencil, the second in red wax chalk touched with black, (106*04) 148 Drapery Study for the figure of a Young Woman, full length, standing to left, holding her drapery in her left hand. Pencil and red chalk. (105*04) 149. Drapery Study for the figure of a Young Woman, standing to left, with arms extended. Study for the under-dress of No. 144. Pencil and red wax chalk. (113'04) 150. Drapery Study for the figure of a Woman, full length, standing to right, the head turned to left. She holds some object, probably a sword, with both hands. Eed wax chalk. (117*04) 151. Drapery Study for the lower half of a female figure. Black and white chalk on brown felt paper. On reverse of sheet another study of leg- drapery. (11*04) 152, Drapery Study for the figure of a Young Woman, standing to left, with arms extended, more to the front than in No, 144, Pencil and red wax chalk. (112*04) 153. Drapery Study for the figure of a Woman, standing slightly to right, the head to left and looking down. The right hand is placed on the hip, while the left gathers the drapery up at the waist. Black and white chalk on brown felt paper. (125'04) 154, Slight Drapery Study for the figure of a Girl, seated to right in a chair, on the back of which the right arm apparently rests. White chalk on brown paper, with the head tinted in red. This, and the studies Nos, 158, 159, 160, 161, and 162, form part of a series of rapid sketches from life of Girls in Greek drapery, in which hghts only are indicated, tbe shadows being left. (46*04) 29 155. Drapery Study for the figure of a Man, holding on to a tree with his left hand, not seen in the study, and his right arm extended. The drawing is finished in pencil, the figure only roughly indicated in red wax chalk. (119*04) 156, Drapery Study for the figures of two Women, standing together, and reading from scrolls. White chalk, the lights only indicated, on brown felt paper, the flesh lightly tinted with red. (122'04) 157. Nude Study for a figure of St. Michael or St. George, holding a staff' in his right hand, and his left resting on a shield. Black and white chalk on brown felt paper. (149*04) 158. Two Drapery Studies on one sheet for two standing figures. White chalk on brown paper, the figure on the left partly tinted in red. (47*04) 159- Drapery Study for the figure of a Girl, seated to right. White chalk on brown paper, black chalk background, and the flesh tinted red. (45*04) 160. Drapery Study for the figure of a Girl, seated to left. White chalk on brown paper, the background in red pastel, (43'04) 161. Drapery Study for two seated figures, one reclining on the lap of the other. White chalk on brown paper, the flesh slightly coloured in pastel, and the back ground in black chalk, (42*04) 1 62, Drapery Study for the figure of a Girl, seated to right. White chalk on brown paper, the flesh tinted with red pastel, the background in black chalk, (44'04) 163. Two Drapery Studies on one sheet for a figure seated to left, holding a square, representing a musical instrument, resting on the right thigh. In the second study the figure is seen only from the waist downwards. Black chalk heightened with white on brown paper, (118'04) 30 Studies from the 'Tsjude. 164. Five Nude Studies on one sheet of a Girl, in three of which she is standing and in two seated. These studies, and Nos. 165, 166, and 167, were all made from a tall model, who sat to Mr. G. F. Watts. E.A. Eed wax chalk. (50*04) 165, Five Nude Studies on one sheet of a Girl, seated. Four of the figures are to the left, and one to the right. Eed wax chalk. (48*04) 166, Three Nude Studies on one sheet of a Girl, seated, two to the left and one to the right. Eed wax chalk. (49*04) 167, (i.) Nude Study of a Girl, seated to left, the arms resting on the knees. Eed wax chalk. (51*04) {ii.) Nude Study of a Girl, seated to left, clasping her knees. Eed wax chalk, (52'04) (iii.) Nude Study of a Girl, seated to right, the elbow resting on the knee. Eed wax chalk. (53'04) 168. Nude Study for the figure of a Man, with his left arm round the trunk of a tree, his right arm extended. For the drapery study for this subject see No. 155. Eed wax chalk. (120*04) 169. A second Nude Study for the figure of the Man in No. 168, in which the left arm is placed higher, and the figure is standing more away from the tree. In both studies the right leg is unfinished. Eed wax chalk. (121*04) 170. Nude Study for the figure of a Young Woman, standing to left. In the upper right corner of the sheet there is a study of a Foot. Pencil on green paper. (127*04) 31 171. Three Studies on one sheet for a left arm, with separate studies for a hand, head, and shoulder, probably studies for the figure of Hesperus. Two of the studies for the arm are carefully modelled, white chalk being mixed with the red. The third arm is in outline only in red chalk, while the head and shoulder are in red chalk and pencil, and the study of the hand in pencil only. (141*04) 172. Nude Study for the figure of one of the Eeapers appealing to Venus, designed in 1866 for one of the illustrations to "The Hill of Venus" in William Morris's " Earthly Paradise ; " to the waist only, in profile to right. Eed wax chalk. (97*04) 173. Nude Study for the figure of a Man, holding the shaft of a spear in both hands, standing to left, looking down, the right leg raised. Black and white chalk on brown felt paper. (123*04 174. Nude Study for the figure of a Woman, standing to right, back view, the right arm extended. In the upper corner of the sheet there is a study of the left arm. Black and white chalk on brown paper. (126*04) 175. Nude Study for the figure of a Young Woman, with three separate sketches for the hands in the upper right corner of the sheet. Eed wax chalk and pencil. For other studies of this model see Nos. 142, 144, 149, and 152. (114*04) 176. Nude Study for the figure of the King in the picture of "King Cophetua and the Beggar-Maid," seated, facing to right. Black and white chalk on brown paper. (230*04) Studies of Heads. 177. Study of a Child's head, three-quarter face to right, bending down. This is a study for one of the children singing from scrolls in the background of the picture of "King Cophetua and the Beggar- Maid." Black and white chalk on brown paper. (221*04) 32 178. Study of a Woman's head from an Italian model, nearly full-face, looking down. Pencil and red wax chalk, (20*04) 179. Study of a Woman's head, looking to right, nearly full face. Pencil and red chalk. (18*04) 180, Study of the head of a Young Girl, of the Italian Jewish type, full face. Pencil. (21'04) 181. Two Studies on one sheet of a Woman's head. In one the eyes are closed, and the head is seen in profile to the right. This is in red chalk slightly touched with pencil. The second head, in the upper left hand corner, is also to the right, but turned away, showing the line of the cheek. This is in charcoal and red chalk, (188*04) 182. Three Studies on one sheet of a Girl's head, two in profile to the right, the third three-quarters to left. Pencil. (55'04) 183, Study from the head of Milly Jones, profile to right, looking down. Eed wax chalk. (54*04) 184. Study of a Girl's head from an Italian model, full face, looking down. Pencil. (19*04) 185. Study of a Girl's head, full face, looking down. Pencil, (23"04) 186. Study from the head of Mrs. William Morris, nearly full face, looking down to left. Pencil and red wax chalk. (24'04) 187. Study of the head of a Young Girl, in profile, to left, life size. Eed chalk and pencil. (202*04) 188, Study of the head of a Young Girl in South Itahan costume, nearly full face, looking down to right. Black chalk and pencil. (216*04) 189. Study of the head of a Young Girl, in profile, to right. Pencil and red wax chalk. (22*04) 33 The Collection includes the following slight sketches by Sir Edward Burne-Jones which are not at present prepared for exhibition. Drapery Study, seated figure, to left. White chalk on brown felt paper. (40*04) Drapery Study, seated figure, the right hand to the neck, the left holding drapery, the shoulders bare. White chalk on blue paper. (41*04) Study of Feet and Hands, with sketches of Costume for a male figure standing to left, with right hand to his chin. On the edge of the sheet there is a drawing of a jewel in the form of a dragon, by an unknown hand. (213'04) Four Sketches, on one sheet, of Moses, David, St. John the Baptist, and St. Paul. Design for a window at Glasgow. Pencil and red chalk. (217*04) Slight Nude Study of the figure of a woman. White chalk on brown felt paper, (227*04) 34 DRAWINGS AND STUDIES BY DANTE GABRIEL ROSSETTI. 190. Mephistopheles outside Gretchen's Cell. The demon, a half length figure, stands to right, his right hand on his hip, holding a short sword, with his chin on his left hand, his forefinger touching his cheek. The cell is seen to the right, a pitcher of water and a grating in the background. Gretcben herself is not visible. Signed with monogram composed by the letters G.C.D.E., and dated "April, 46." Pen and ink on bluish writing paper. (462*04) 191. "Angel Footfalls," from E. A, Poe's poem of "The Eaven." Pen and ink. From the Schott collection. (268*04) 192. "Michael Scott's Wooing." A different design from the final one. Inscribed with title. Pen and ink. From a manuscript note book. (341*04) 193- (i.) Dante, Beatrice, and Love. Dante, on the left, looks towards Beatrice, who stands on the right with her hands before her ; and Love with a dial in the centre. This is probably the earhest germ of the design. Inscribed " La Vita Nuova " above, and " Di Dante Alighieri " below. It is the title from a manuscript book, in all probability the draft translation of the "Vita Nuova." Dated by William Eossetti about 1349, but considered to be of an earlier date by Mr. Fairfax Murray. The names Eossetti, J. Hancock, and Gabriel Eossetti are written above and beneath in an idle mood. Pen and ink. Purchased from W. M. Eossetti. (352*04) (M.) A Young Girl with an open fan held with both hands, the right arm resting on a fire screen. Sketch in ink on note-paper. Purchased from W. M. Eossetti. (358'04) 35 194. "Ulalume"; design for B. A. Poe's poem. Pen and ink over pencil. From the Dickenson Sale, (269'04) 195. (i.) Dante as a Pilgrim (?), Full length figure, leaning with his right arm on a ledge, and wearing a hat with the brim turned up, to which a scallop shell is attached. He is looking away to left. In his left hand originally he held a long staff, but the action of the hand having been altered, the staff was allowed to rest against the ledge, and his band was placed against it. Pen and brown ink. (465'04) (ii.) Sketch for the same subject. The figure very little changed, but the feet are closer together, and appear to be crossed. The staff' is omitted. Purchased from Mrs. Agresti (Olivia Madox Eossetti). Pen and ink. (466'04) 196. " Florence, 9th June, 1291. The First Anniversary of the death of Beatrice." Dante has risen from his chair in front of the window seat, brush in hand, to greet his visitors, the elder of whom is followed by a page boy, bearing a folio. One of the guests leans across to examine the drawing of an Angel which Dante has been making. The other two visitors are leaning on the back of Dante's chair. The shelved recesses in the wall at the back are filled with books and papers. Other books, with a lamp, hour-glass and musical instrument, lie on the ground at the foot of the window seat, on which Dante's drawing rests, propped against a pile of books, and a colour saucer, brushes, and a glass with a rose in it. On the window wall is inscribed, " Beata Anima bella, chi ti vede, 9 Giugno, 1290," and beneath is a drawing of a mathematical problem. Above the low curtain that screens the window, through the partly open lattice, is seen the city, above a hedge of lilies. The arched head of the window is filled with a shield supported by kneeling angels against a ground of stars, in stained glass. The same coat of arms appears on the carving of Dante's chair, A statuette 36 of Santa Eeparata, the Patron Saint of Florence, bearing a banner inscribed " Florentia, " is placed on a bracket to the left of the window, and a crucifix hangs to the right. The drawing is arched at the top. Signed to the left "Dante G. Eossetti, P.E.B., 1849," and in brown ink above "Dante G. Eossetti, to his P.E. Brother John E. Millais." Beneath is a long quotation from a translation of Dante's Auto biography. Pen and ink. This drawing was in Millais' possession until his death, and was only sold after the death of his widow and eldest son. Purchased at Christie's. (485*04) 197. "Hamlet and Ophelia," Hamlet kneels" upon the bench, with both hands raised in front of him, as he talks to Ophelia, whose hands are clasped in her lap, as she turns her head away. There are no letters in her hand, as in the finished design. Pencil. First sketch for the drawing in the possession of Colonel Gillum. From the collection of G. P. Boyce. (460*04) 198. " The First Madness of Ophelia." Pen and ink over pencil, on green paper. About 1850. From the Schott collection. (282*04) 199. "The Maries at the Foot of the Cross." Pencil. A water-colour of the same subject was done by Eossetti, and there are several sketches of Mrs. Eossetti for the same subject, one of them of unusual power. Purchased from Mr. Tebbs, who had it from the artist. (400*04) 200. Sketch for the water-colour of "Lucrezia Borgia," with the two children dancing, before it was re painted. Lucrezia is in a simple dress, reclining on a couch, playing a lute. An old man, the Pope (?), to the right, and two courtiers to the left, with the servant-maid behind. A monkey is seated on the foot-board of the couch beside his pole, and the children are dancing in the foreground. Fruit and 37 an ewer to the left on the ground, and an open window in the background to the right. Signed and dated " Dante Eossetti, 1850," across the left lower corner, and inscribed beneath with the lines : — " To caper nimbly in a lady's chamber To the lascivious pleasing of a lute." Pen and ink. Given by the artist to G. P. Boyce in 1854. Exhibited at the Eoyal Academy, 1883. Purchased at the Boyce Sale at Christie's, July, 1897. (478*04) 201. " Love's Mirror. " A young girl in a flowered dress is seated to the left before an easel, painting her own portrait. A mirror is on her right, in which is reflected both her own face and that of her lover, who is kneeling with one knee on a chair behind her. He leans forward guiding her hand. Two maid servants are in the background, one of whom is fondling a kitten. The other has a bunch of keys hanging from the girdle at her waist. Painting materials are placed on a box beside the girl, and strewn over the floor with other objects. A side board to the right, and drapery looped up above the easel to the left. Pen and ink. This drawing, in which the young man is said to be a portrait of Thomas Woolner, was for many years in the possession of Mr. Coventry Patmore. Purchased at his sale in 1898. (*91104) 202. Study of Two Girls, one of whom is seated on the side of a bed, the other standing, taking the head of her companion between her hands and kissing her. A study from life for a design for one of the old ballads. Pen and ink. On the reverse of the sheet a sketch in pencil by Mrs. Eossetti for her design of "Jeptha's Daughter," From the Schott collection. (360*04) 203. (i.) Study for the figure of Delia, for "The Eeturn of Tibullus," dated 1851. She holds her distaff in her right hand, and with the left a lock of her hair 38 between her lips. On the reverse of the sheet, a rough sketch, mutilated, for "Giotto Painting Dante's Portrait." Pencil. Purchased from W.^M Eossetti. (ii.) Another study for the figure of Delia, of about the same date as the preceding. With her right hand she draws a lock of hair between her lips, the left holding the spindle. On the reverse of the sheet two other sketches. Pencil. From the Schott collection. (303*04) 204. (i.) Study of an Arm. Pencil. About 1880. Purchased from W. M. Eossetti. (334*04) (ii.) Study of a Negro Boy sleeping, for "The Eeturn of Tibullus.*' Pencil. This figure is one of the studies for the later design, painted in 1867. Purchased from W. M. Eossetti. (304*04) 205. Bust of a Young Woman, with long fair hair, three- quarter face to right, both hands raised. With her left hand she grasps her hair, which falls over the shoulder ; a flower on the right side of the head. On the reverse of the sheet a full-length female figure, standing to left, a sketch for one of the figures in "Benedick and Beatrice." Pen and ink on Whatman note-paper, quarto size, with water mark, 1849. (438*04) 206. (i.) Giotto Painting Dante's Portrait. Two figures only. Dante, with bent head, is sitting to the left, Giotto leaning towards him, brush in hand. Dante holds a book in his left hand, and an apple or pomegranate in his left. This is an early design for the picture, before the addition of the figure of Cavalcanti. Pen and ink. From the Schott collection. (390'04) 39 (ii.) Joan of Arc, kissing the Consecrated Sword. Inscribed by the painter " Joan of Arc " in the lower right hand corner. From one of the artist's MS. note-books. Pen sketch in common ink, shaded with the finger. Square design. From the Schott collection. (335*04) 207, (i.) Sketch of a Young Man, seated to right, his legs outstretched, his left arm raised to his head, tbe elbow resting on a ledge on which is seated a Young Girl, whose right hand is placed on his arm. Above, to the left, a sketch of a Girl's head on a larger scale. Dated January 28th, 1852, but not in the painter's handwriting. Pen and ink on note-paper. (442*04) (ii.) An Old Man, walking to the left, between a Young Woman on his right, who turns to look in his face, and a Young Man on his left, who holds a plumed hat. Inscribed "Dante Eossetti," but not in the artist's handwriting. About 1852. Pen and ink on note-paper. (439*04) (Hi.) Beatrice and her Nurse (?). A Young Girl walking with an Old Lady, whc has a feather fan in her right hand, and a high head-dress. Pen and ink, shaded with the finger, on white paper. Purchased from W. M. Eossetti. (365*04) (iv.) A Young Man, standing cross-legged, holding the hand of a Young Girl in his right, to whom he is talking. His left hand is placed above her head. She stands to left, nearly in profile, her left elbow resting on the ledge of a mantelpiece (?) behind her. About 1852. Pen and ink on note-paper. (440*04) 208. Mrs. Eossetti, Senr., reading, three-quarter length, facing to left, seated in a chair. Dated " Oct., '52." Pencil, From the Schott collection. (251*04) 209, Study for the figure of Delia in " The Eeturn of Tibullus." Drawn from Mrs. Ford Madox Brown. 40 She is seated sideways in a chair holding a cord between her teeth, to which a heart is attached^ Hei hair is neatly braided, and she wears an ordinary indoor dress. Signed with monogram, and dated "Nov., 1851." Pencil. 210. Charlotte Lvdia Polidori, the painter's aunt, three- quarter face, looking down to left. Dated July, 1853 " Pencil on bluish note-paper. Purchased from W M. Eossetti after the death of Christina Eossetti. It hung formerly in the Torrington Square house, mounted in a passe-partout. (*'"" ' 211. (i.) A Lady, in mediseval costume, in profile, standing to left. She wears a tall linen head-dress, or coif, to which a jewel is fastened. Her hands are enveloped in a cloak which depends from the back of the head dress. She holds a feather fan in front of her. Grassy foreground, and background with lozenge- shaped chequers, with the arms of Eossetti on the left upper corner. Inscribed along the left side from bottom to top, "Galleria Pitti, No. 100,000. Eitratto di Beatrice Eossetti— Albrecht Diirer. ' ' Pen and ink on note-paper. Inscribed on back in pencil, in W. M. Eossetti's handwriting, " Circa '55." (468*04) (ii.) A Fencing Match. Two gentlemen, one in his shirt sleeves, fencing. Three girls are in the back ground, one of whom is seated on a table, a second clasping her round the neck, and the third holding her hands. A long window with alternate bottle- glass lights and darkened panels in chequer pattern, above ; tiled floor. Pen and ink. From the Schott collection. A larger and rougher sketch in violet carmine, done with the brush, is in the possession of W. M. Eossetti. (387*04) 212. (i.) The Annunciation. Design in the form of a gable, for decoration. From a MS. note-book. Pen and ink. Purchased from W. M. Eossetti. (353*04) 41 (ii.) A Painter at work. A mother and child seated to the left, with other figures indicated behind. The principal figure is in ink, the rest in pencil, with slight touches outlining the head of the mother. Inscribed by W. M. Eossetti "St. Cecilia," and purchased from him. (354*04) 213. (i.) Dante Meeting Beatrice in Paradise. Dante kneels, with his arms held down before him, as Beatrice, bending, raises her veil. Seven angels stand behind in a row with musical instruments. Eough sketch in pen and ink. Purchased from W. M. Eossetti. (280*04) (m.) Dante Meeting Beatrice. Dante, three-quarter length, standing facing to left, shading his face with both hands. More finished than the preceding sketch. Pen and ink. Purchased from W, M. Eossetti. (281*04) 214. (i.) Fra Angelico Painting. He kneels, facing to right, in profile, while a brother monk, leaning on the top of the low easel, reads from a book. The lower part of the lattice window at the back is open, showing a view of the city. On the easel is a picture of the Virgin and Child. Pen and ink. (450*04) (ii.) Giorgione Painting. He is seated facing to right, turning to his model, who is seated in front in a low chair, her hands in her lap. To the right are two figures, a negro and a young man, in conversation, and to the left, behind the painter, another young man leaning his head on his right hand. Pen and ink. Purchased with the preceding drawing from Mr. Harold Eathbone. They formerly belonged to Ford Madox Brown. (451 '04) 215. Portrait of Holman Hunt. Oval, dated " 12th April, 1853," and signed "D. G. Eossetti to Thomas Woolner. Edward Bateman Bernhard Smith." This is one of the series of portraits given by the P.E.B.'s to their brethren who were leaving for 42 Australia. Pencil. Purchased at the Cosens Sale, at Christie's, May 17th, 1890. It was erroneously catalogued as by F. G. Stephens, owing to a false inscription on the mount which covered the signature. (392*04) 216. (i.) Thomas Woolner, the sculptor. He is smoking, and holds his pipe with his right hand, and the left in his trouser pocket. He stands looking somewhat doubt fully at the model he is working upon. A humorous sketch. Inscribed below, "T. W., 101 Stanhope St., 1850," and "Woolner." Pen and ink. From the Schott collection. (368*04) (ii.) D. G. Eossetti sitting to Miss Siddall. Eossetti, somewhat unkempt, with a look of desperate resigna tion, is seated beneath a portable studio lamp with a refiector, his hands thrust into his pockets, and his feet upon a chair, the back of which serves Miss Siddall as a rest for her drawing board. A picture is on an easel in the background. Dated, "Sept., 1853." Pen and ink, shaded with the finger, on note paper. This sketch, which has often been reproduced, was for many years in the possession of W. Bell Scott. 'Purchased at his sale. (480*04) 217. (i.) Sketch of Ford Madox Brown, wearing a cap with a peak. A small head in profile to the left. Pen and ink. Purchased from Mr. Seddon. (435*04) (ii.) Sketch of Holman Hunt. Half-length in profile standing to right, his left hand to his chin, his right in his trouser pocket. Inscribed "Of Course" On reverse of the sheet a sketch for "The Eose Garden." Pen and ink, shaded with the finger Purchased from Mr. Seddon. (436*04) (m.) Sketch of John Everett Millais. Half-length in profile, standing to left, his right hand raised with the two first fingers extended, his left touching his 43 waistcoat. Inscribed with one of his characteristic expressions applied to pictures he dishked — •" Slosh." Pen and ink, shaded with the finger. Purchased from Mr. Seddon. (437*04) 218. Tennyson reading " Maud." The poet is seated at the end of a sofa, in profile to left, holding the book in his right hand, and with his other hand grasping his left leg. Inscribed "Maud," and dated 1856 in the lower right hand corner. Pen and ink washed. This appears to be the original sketch, from which a second more careful drawing was made for Eobert Browning. It was formerly in the possession of Mr. William Sharpe, the poet and biographer of Eossetti, and afterwards belonged to Mr. Cosmo Monkhouse, from whose sale it was purchased at Christie's. (495*04) Studies and Dralfings for the Picture " Found. ' ' 219. (i.) Study for the Head of the Girl in "Found." The eyes are open and the hair is smoother than in the later study below. Ink over pencil. From the Schott collection. (286*04) (ii.) Study for the Head of the Girl in " Found." Nearly in profile to the left, the hair loose. Pencil and pen and ink. Purchased from Mr. Hollyer. (433*04) 220. Study for the Head of the Girl in "Found." She is leaning against the wall to left, nearly in profile, the eyes closed and the lips pressed closely together. Her bonnet has fallen behind her head. This is the finished study finally used for the picture. Pen and ink. From the Schott collection. (488*04) 221. The Complete Design for the oil picture of "Found." Pen and ink. Purchased from the artist's sale. May 12th, 1883, catalogue No. 57., , (232*04) '%^ V\r 44 222. Study of the Two Figures together for "Found" Pencil. From the Schott collection. (285 04) 223 (t.) Study for the Head of the Man in "Found," wearing a flat cap. Pencil. From the Schott collec tion. (ii.) Study for the Head of the Man in "Found," with shght beard tuft, and dark hair. Pencil. From the Schott collection. (288*04) 224. Study for the Head of the Man in "Found," with short side whiskers. Pencil. Purchased from W. M Eossetti. A note in W. M. Eossetti's handwriting on the back says " c. 1855 ? " (289'04) 225. Portrait of the Artist's Mother. Small oval, full face, dated 1853. Pen and ink. Purchased from Howell. (246*04) 226. (i.) Mrs. Ford Madox Brown. Profile to left. Signed with monogram, and dated " 10 Sept., 1856." Pen and ink, (448*04) (ii.) Mrs. Ford Madox Brown. Nearly full face to left, with eyes turned to front. Candle-light study. Signed with monogram, and dated "1st May, 53." Pen and ink. {447'04) 227. Sketch of a Castle Battlement, inscribed "Wetheral, near Carlisle. ' ' Pencil. From the Schott collection. (305'04) 228. Study of Mrs. Dante Eossetti, seated, wearing a cloak, the right hand on the left, which is resting on the elbow of the chair in which she is sitting. Pen and ink on note-paper. Purchased from W. M. Eossetti. (327*04) 45 229. Mrs. Dante Eossetti, seated in a chair, looking down, full length. Dated 1854. Pencil. Purchased at the artist's sale, 1883, Catalogue No, 113. (258'04) 230. Mrs. Dante Eossetti, whole length, hands clasped, seated on a high couch. Study for the water-colour, " Eachael seated at the Well," in the possession of Colonel Heaton. Pencil. Purchased at the artist's sale, 1883, Catalogue No. 136, (260*04) 231. (i.)Mrs. Dante Eossetti, in profile, facing to the right. Pen and ink. From the book of drawings formerly in the possession of Mrs. Schott. (247'04) (ii.) Miss Eliza Harriet Polidori, the painter's aunt, who went to the Crimea as nurse with Florence Nightin gale during the Eussian war. Three-quarter face, to right, and wearing a black bonnet like a Quaker's, About 1852. Pen and ink. From the Schott collection. (248*04) 232. Mrs. Dante Eossetti, in walking dress, reading. Pencil. Bought at the artist's sale, 1883. (259*04) 233. (i.) Sketch of Mrs. Dante Eossetti, seated in an armchair, resting on a large pillow. The head is supported by the left hand, and the right hangs listlessly by her side. Pen and ink on note-paper. Purchased from W^ M. Eossetti. (328'04) (ii.) A Young Man kneeling to a Young Girl, who is seated. Her hands rest on his shoulders, and his on hers. Pen and ink on bluish note-paper. Purchased from W. M. Eossetti. (359*04) 234. (*.) A Man seated in an armchair, tenderly embracing a Girl, who is kneeling. Study for "The Marriage of St. George." Pencil. Prom the Schott collection. (378*04) 46 (ii.) Study of a Young Girl, with bare arms, lying down. Pencil. From the Schott collection. (325*04) (iii.) Sketch of two Children. A boy of about six years of age is putting on the shoe of a baby, seated on a high chair, sucking its finger. Pencil. Undated, but about 1854, according to W. M. Eossetti. (469'04) 235 Portrait of a Child. Pencil. From the Schott collection. (376'04) 236. Study for the figure of a Young Girl, descending the steps in the composition, "The Boat of Love." A study from Miss Siddall. To the right, in the upper corner of the sheet, a study of the head on a larger scale, in a somewhat different position. Pencil. (457*04) 237. Study for the figure of Delia in "The Eeturn of Tibullus to Delia." Pencil and pen and ink. Exhibited at the Burlington Fine Arts Club, 1893, No. 108. On the back of the drawing was a note, in G. P. Boyce's handwriting : " Study made (probably 1855) from his wife (nie Elizabeth Eleanor Siddall), whom he married in 1860, for the ' Delia ' in the ' Tibullus ' Eeturn to Delia, by Dante G. Eossetti. The action of the head oE Delia is different in this drawing from that in the subsequent water-colour drawing. The gift of the artist to G. P. Boyce, December 6th, 1868. " (403*04) 238. (i.) Study of a Woman holding a Child. Probably a sketch from lite for the "Adoration of the Kings," in the Llandaff altar-piece. See No. 250. From the Schott collection. (311*04) (ii.) Nude Study for the figure of the'] Virgin in the picture of "The Annunciation," now in the National Gallery. Pen and ink. On the reverse of the sheet a figure of Love, a decorative design for the figure on the wall in the background of "The Eeturn of Tibullus to Delia," and other sketches, mutilated. From the Schott collection. (290'04) 47 (Hi.) Sketch from life for the Virgin Washing Clothes for Mr. Boyce's "Annunciation." Pencil. From the Schott collection. (295'04) 239. Design for an Unknown Subject. A boy is seated on the lap of a woman, whose right hand supports his head, while her left is round his body. At his feet, to the right, stands a man. The boy's right hand is held by another person who is seated to the left of the composition. In the background, to the right, is seen another seated figure. The principal group appears to be in front of a window with a seat and steps. Pencil. From the Schott collection, (370'04) 240. A Second Design for No, 239. Here the boy is also seated on the woman's lap, but his position is reversed. She holds his head with her left hand. The figure formerly seen at the boy's feet is still there, but owing to the position of the boy being reversed, is now to the extreme left of the composition. He holds the boy's feet in his right hand, and the woman's right hand in his left. The fourth figure crouches to the right, seated, and the boy's left hand is round his neck. At the window behind there are indications of three heads looking in. Pencil. From the Schott collection. (371'04) 241 . Study from life for the three principal figures in No. 239 and No, 240. The boy rests on the woman's knees, or rather across those of both. The woman on the right supports his head with her left hand. The woman on the left holds his feet with her right, and the right hand of the younger woman with her left. The boy's hands rest between his knees. The figure at the feet is distinctly drawn from a woman, but as this study was made only for the placing of the figures, this figure probably takes the place of a man. Whether these designs are for " Elijah and the Widow's Son," or a Dantesque subject, as the costume of the male figure in Nos. 239 and 240 48 might lead one to believe, is difficult to say. Neither William Morris, W. M. Eossetti, or others to whom the designs were shown by Mr. Fairfax Murray, had ever seen them previously, though they doubtless date about 1855. Pencil. All three designs are from the book in the Schott collection. Mr. F. G. Stephens has suggested that it may be a Dantesque subject, and represent the illness of one of Dante's children at the time of his banishment. (372*04) 242. " The Boat of Love." Sketch for the entire composi tion of seven figures. Inscribed in the left upper corner " Guido vorrei che tu e Lapo ed io. " Pencil. Purchased from W. M. Eossetti. (291*04) 243. (i.) Two Studies on one sheet for " The Boat of Love" — Beatrice and Love. Pencil. Purchased from W. M. Eossetti. (292-04) (ii.) Two Studies on one sheet for " The Boat of Love " — Beatrice and Love ; similar to the preceding. Pencil. Purchased from W. M. Eossetti. (293*04) 244. Sketch for the two figures of Dante and his Friend, in ' ' Beatrice, meeting Dante at a Wedding-feast, denies him her Salutation;" 1849. Pencil. From the Schott collection. There is a note on the back by Mr, Fairfax Murray :—" Must be a preparatory sketch for the water-colour, ' Beatrice, meeting Dante at a Wedding-feast, denies him her Salutation,' exhibited c. 1852. Wells, E.A. (W.M.E,), owns the water-colour. The figures in the water-colour are quite different, but no doubt this is a design for the subject. C. F. M." (296*04) 245. (i.) Virgin and Child. The Child, in long clothes, is bending back in the Virgin's arms. The Virgin's head is draped with a veil closely wound round the neck and falhng over the shoulders. Pencil. From the Schott collection. (312'04) 49 (ii.) Virgin and Child. Three sketches on one sheet. The third is mutilated. The upper design is in an oval, the Child seated on the Virgin's shoulder, and clasping her head. In the second the Child is older, and stands by the side of the Virgin's chair with his back to her. She clasps him round the waist with her right arm, with her left hand on his head. In the third sketch the Child stands upright on the Virgin's lap. Pencil, Prom the Schott collection. (314*04) 246. (i.) Virgin and Child. The Virgin is seated at a window, through which a tree is seen to the left. She holds the Child up in her arms, and is in the act of kissing it. Pencil on bluish note-paper. From the Schott collection. (313*04) (ii.) The Institution of the Passover. The Virgin Mary holds a bowl. Christ is seated on the table, at which another figure is writing. A fourth figure is seen behind, leaning in at the window. Pencil. From the Schott collection. (381*04) 247. (i.) Design for an Unknown Subject. A girl kneeling at a window before a desk or prie-dieu. Eight and left of her are two attendants, also kneeling, one with a lute. In the background is a bed, with a cross on the wall at the back. Pencil. Purchased from W. M. Eossetti, (373'04) (ii.) A larger and more finished design for the same subject. The figure of the girl in front, who occupies the extreme left of the composition, has her right arm raised, instead of by her side as in the smaller design, and the lute has given place to an instrument of the cithern order. The principal figure rests her hand on the desk on an open book (?). In the previous design they are clasped under her chin. Pencil. From the Schott collection. (374*04) 248, Nude Study for the principal figure in the foregoing designs. On the reverse of the sheet, a nude study so of a man for the figure of Dante in the picture of "Giotto painting Dante's Portrait." Black chalk. Purchased from W. M. Eossetti. (375*04) 249. Design for a Sonnet of Cavalcanti's, beginning " Era in pensier d'amor." The first lines are inscribed across the lower corner to the left. Pen and ink. From an MS. note-book. (340'04) 250. Sketch for the King and Shepherd in " The Adoration. " Both are led by an angel, whose hand only is visible in the drawing. The Virgin kneels, and holds the Child's outstretched hand to them. This is for the centre compartment of the Llandaff Triptych, but the design is much altered. Pencil. From the Schott collection. (399*04) 251. Portrait of William Morris, profile, looking down. Study for the "David King " in the Llandaff altar- piece. Pencil. On the reverse of the sheet the drawing of a figure of a man. Pen and ink. Purchased from W. M. Eossetti. (261*04) 252. (i.) Sketch for Launcelot and the Lady of Shalott, for Moxon's Tennyson, Pen and ink. From the Schott collection- (279'04) (ii.) Mariana in the South, Sketch for the wood-cut in Moxon's Tennyson. Pen and ink. Purchased from Mr. Hollyer. (434*04) 253. (i.) St. Cecilia. Design for Moxon's Tennyson. The Angel is looking at St. Cecilia, and not kissing her as in the finished wood- cut. Pen and ink. Prom the artist's sale, 1883, Catalogue No. 85. (235*04) (id.) King Arthur and the Weeping Queens. Design for Moxon's Tennyson. Pen and ink. From the Artist's sale, 1883, Catalogue No. 85. (236'04) 61 (m.) Mariana in the South. Design for Moxon's Tennyson. Pen and ink. From the Artist's sale, 1883, Catalogue No. 85. (237*04) 254. (i.) Two designs for engraving on the back and face of a watch. "Sol" and "Luna," with a background of stars and an emblem of the flight of Time, are for the face, and a bird in flight for the back. Ink on tracing-paper. From the Schott collection. (323*04) (ii.) Six small Heads in circles and three Ornaments, designed for a sofa, on which they were executed in brown on gold grounds. Pencil. From the Schott collection. , (321*04) (iii.) Two designs of an Angel for engraving on the back of a watch. Pen and ink. From the Schott collection. (327*04) 255. (i.) Half-length figure of a Girl, holding a lock of hair (?), which she appears to be cutting or combing. On the reverse of the sheet a slight sketch of King Een6 painting (?). Pencil. From the Schott collection. (383'04) (ii.) Study of a Girl with her hands raised as if gathering flowers. About the same date as the preceding, and probably from the same model. Pencil. From the Schott collection. (384*04) (iii.) Study of Drapery for the figure of the Girl in "The Tune of Seven Towers." From the Schott collection. (307*04) 256. (i.) Sketch for the figure of the Woman in " The Gate of Memory," small full-length figure. Pencil. From the Schott collection. (306*04) 52 (ii.) Sketch of Two Women on either side of a tree, one with her hands held down before her, the other with hers raised, as if in the act of writing on the bark of the tree. Pencil, From the Schott collection. (385*04) (iii. ) A Man seated, holding a Child on his knee. One leg is crossed over the other, and the child's head rests on his raised knee. Probably a sketch from life. Pencil. From the Schott collection. (39.3*04) 257. Launcelot in the Queen's Chamber. "Morte d'Arthur, chap, cxlix." Inscribed in gold on the original frame above and below : ' ' How Sir Launcelot was espied in the Queen's Chamber, and how Sir Agravaine and Sir Mordred came with twelve knights to slay him." The painter's monogram and "Oxford, 1857," in the lower right hand corner. Launcelot keeps the door with his left hand, his sword in his right still in its sheath. The Queen, with her back to the door, clasps her neck as if fainting, and her three maids are seated on the ground in terror. A view of an orchard is seen through a window, over which hangs the Queen's crown. Armed men are seen through the grating of the door, and an orange tree at the side of the steps leading down to it. Finished drawing in pen and ink. Exhibited at the Burlington Club. Pur chased at the Anderson Eose Sale, May 5th, 1891. (404*04) 258. Three Studies for the wall-painting of "Launcelot at the Shrine of the San Grail," in the Oxford Union Club :— (i. ) Study for the figure of Guenevere, seated on the edge of a well. Pen and ink. From the Schott collection. (270*04) (ii.) Study for the figure of Guenevere, seated in an apple tree. Pen and ink and pencil. From the Schott collection. (271*04) 53 (iii.) Study for the figures of Launcelot and Guenevere. Guenevere is here standing by the apple tree with an apple in her hand. The Launcelot was drawn from Sir Edward Burne-Jones. Pen and ink. Purchased from W. M. Eossetti. (272*04) 259. Study for the figure of Guenevere standing by the apple tree. This is more like the wall-painting than any of the preceding. Pale ink, drawn with the pen. Purchased from Murray Marks, who had it from H. J. Dunn. On the reverse of the sheet is a caricature of William Morris, presenting a ring to Miss Burden, his future wife. (273'04) 260. A Lady holding a Knight's Helmet. The head and hands prepared in violet carmine, and the face tinted. The rest in pencil. The beginning of a water-colour. From the Schott collection. (294*04) 261. The Angel of the San Grail. Kneeling figure, a study for ' ' Launcelot at the Shrine. ' ' Pen and ink. Prom the Schott collection. (274'04) 262, Sir Galahad armed by an Angel, The date is illegible, but it was done about 1857-68. Pen and ink. Purchased from Mr. Tebbs. (399'04) 263. My Lady Greensleeves. A lady kneeling, and tying a sleeve on a knight's helmet. Pencil. Purchased from W. M. Eossetti. (283*04) 264. (t.) Study of Drapery for "Helen of Troy." On the reverse of the sheet two addresses in the painter's autograph. Pencil. From the Schott collection. (310*04) (ii.) Study of a Fawn, standing to left, for the picture of " Mary Magdalen at the Door of Simon the Pharisee," This is probably the original study from which the larger reversed drawing. No, 265, was made. Pencil. Purchased from Mr. Hollyer. (432*04 54 (iii.) Portrait of a Lady [Christina Eossetti (?)], standing in front of a table. The right wrist is bent, and the hand held by the left. She wears a black apron. Pencil on bluish note-paper. From the Schott collection. (377*04) (iv.) Study of Drapery, probably for a figure of Dante. Pencil. From the Schott collection. (326*04) (v.) Sketch for the symbolical figure of "The Sonnet," in the design made for the artist's mother in 1880. Pencil. Purchased from W. M. Eossetti. (329'04) Studies and Dralpings for the Picture of " Tlary Magdalen at the Door of Simon the Pharisee. " 265. Study of a Fawn, and back tracing of the same, for the picture of " Mary Magdalen at the Door of Simon the Pharisee." Pencil. Purchased from W. M. Eossetti. [See also No. 264 (ii)] (278*04) 266, Sketch for the principal group in the picture of " Mary Magdalen at the Door of Simon the Pharisee." Three figures. The Lover bars the door with his right arm ; his hand is placed on the door-jamb, and the girl's hand is near his, and his knee bars the way. Pen and ink. From the Schott collection. (275*04) 267. Study for the head of the Lover in the picture of " Mary Magdalen at the Door of Simon the Pharisee, " Black chalk on grey paper. Purchased from W, M, Eossetti. (277'04) 268. Mary Magdalen at the Door of Simon the Pharisee. A later design than the finished pen drawing. An old woman draws Mary Magdalen back by the cloak as she advances to the left ; the lovers are in front, and the doorway faces the spectator. Pen and ink. From the Schott collection. (276*04) 55 269. Study of the Girl with the Porringer seated at the foot of the steps in the picture of ' ' Mary Magdalen at the Door of Simon the Pharisee." Pencil. Purchased from W. M. Eossetti. (240*04) 270 Mary in the house of John. The Virgin, standing to the left, is feeding the oil-lamp hanging in the centre of the cruciform window-bar. She looks doWn towards St. John, who is in profile to the right. A spinning-wheel is in the foreground to the right. Study for the water-colour drawing, a duplicate of which, on a slightly smaller scale, is in the possession of Colonel Heaton. The original is at present in America. Pencil. From the artist's sale, 1883. Purchased from the Fine Art Society. (487'04) 271. (i.) Head of a Girl, three-quarter face to right. About 1869-60. Pencil. From the Schott collection. (266*04) (ii.) Portrait of a Girl in profile, similar to the head in No. 276 (ii.) On the reverse of the sheet another head, also in profile, beneath which is written "J. St. G." in the painter's autograph, which might indicate J. St. George, a daughter of Madame Vestris. Pencil. Prom the Schott collection. (389*04) (iii.) Portrait of Holman Hunt (?), facing to left, profile. About 1851, Pencil, A note on the back, in W. M. Eossetti's handwriting, says, " I think this was W. Holman Hunt's brother, done c. 1861." From the Schott collection. (379'04) 272, Portrait of Dante G. Eossetti, October, 1861, Full face, the cheeks lean and shaven, short beard and moustache. The coat buttoned close beneath the chin. Signed to right with monogram and dated. Pencil. From the Schott collection. (479'04) 273. (i. ) Head of a Young Man, seated, profile to left, face almost wholly in shadow, the chin buried in shirt 56 front, long straight hair. Pen and ink. W. M. Eossetti thinks this may be one of the Hannays. From the Schott collection. (252*04) (ii.) Major Calder Campbell, an intimate friend of the artist between 1847 and 1851, who wrote a sonnet for "The Germ." W. M. Eossetti thinks this portrait may date about 1849. Nearly full face. Pencil. From the Schott collection. (249'04) 274. Five figure Studies on one sheet, (a) A Lady and Child, (h) Two Lovers embracing. (c) A Girl eating Cherries, (d) A Girl playing a musical instru ment before a stone cross (?). (e) A Girl leaning on a ledge. This last is mutilated. Pencil. From the Schott collection. (369*04) 275. Portrait of a Lady (Mrs. Leathart), three-quarter face, to left. Pencil. From the Schott collection. (254*04) 276. (i.) Sketch of a Girl's Head, to right, profile. Pencil. W. M. Eossetti thinks it is from a German model, who sat about 1863, from whom "Joan of Arc" was painted. From the Schott collection. (265*04) (ii.) Portrait of Mrs. Nicholson ("Eed Lion Mary"), nearly in profile, to right. An excellent likeness according to Mrs, William Morris. Pencil. From the Schott collection. (250*04) (Hi.) Sketch of a Lady, profile, to left. Pencil. From the Schott collection. (264*04) 277. Dantis Amor. Love with a sundial and torch. Inscribed above " ix. Jun, : MCCXC," and below " Quomodo sedet sola ci vitas." This, a later design than the "Dantis Amor," No. 278, was painted on the frame of the two pictures of "The First Salutation of Beatrice" and "The Meeting in Paradise." About 1862. Pen and ink design for decoration. Formerly in the Leathart collection. From the Schott collection. (386*04) 57 278. Dantis Amor. Love as a Pilgrim, holding a sundial. Pen and ink. From the Artist's Sale, 1883, Catalogue No. 88. Purchased from W. M. Eossetti. (238*04) 279. Two Lovers. Pen and ink. From the Artist's sale, 1883, May 12th, 1883, Catalogue No. 61. (233'04) 280- (i.) Study for the head and shoulders of the Lady in "The Eose Garden," Pencil, From the Schott collection. (319*04) {ii.) Study of Drapery for the kneeling Man in " The Eose Garden." On the reverse of the sheet the con tinuation of the Study on the reverse of No, 3 15 '04. Pencil. From the Schott collection. (316*04 (iii.) Study for the placing of the figures in "The Eose Garden." The man is in a sailor's jacket. On the reverse of the sheet a fragment of another sketch for the same subject, which is contained on the reverse of No. 316 '04 above. Pencil. From the Schott collection. (315*04) (iv.) Another Study for the Drapery of the kneehng Man in " The Eose Garden." Pencil. From the Schott collection. (317'04) (v.) Another Study for the Drapery of the kneeling Man in "The Eose Garden." Pencil. From the Schott collection. (318*04) (vi.) Sketches for the heads of the King and Queen in "King Eene's Honeymoon." The King takes the Queen by the chin, kissing her. One of the designs for the Seddon Cabinet. On the reverse of the sheet the sketch of a dormouse as in the woodcut in Christina Eossetti's Poems. Pencil. From the Schott collection, (320'04) 58 281. Joseph accused before Potiphar. Potiphar appears to reproach Joseph with his perfidy, lifting the gold chain round his neck with his left hand, while he touches the keys at Joseph's girdle with his right. Two soldiers are in the act of arresting him, and the foremost one has his hand on his shoulder, while Joseph, with his arms outstretched, protests his innocence. Potiphar's wife is standing beside a couch in the background, leaning on it with her right hand, while her left, clenched, rests on the hip of the advanced left leg. She wears a peacock head dress. Signed with monogram and dated 1860. Pen and ink. On the back of the frame is a note in Mr. Eose's handwriting: — "I bought it of Eossetti out of a folio in his studio at 3 o'clock in the morning, and I gave him £15 for it." The date of purchase is not given. This drawing was improperly entered in the Eose sale catalogue as an etching, under No. 5a. It was passed, and sold later as No. 792, no subject being given. Mr. Eose does not seem to have exhibited it at the Burlington Club, but it was at the Cordwainers' Guild Exhibition. (405*04) 282. Fazio's Mistress. A somewhat different design to the water-colour drawing which formerly belonged to Mr. Boyce. Pen and ink. From the Artist's sale, 1883, Catalogue No. 63. (234*04) 283. Head of a Girl, leaning back on a couch, smiling. The lips are slightly open and show the teeth ; the eyes are nearly closed. Pencil. Purchased from W, M. Eossetti. (330*04 284. Portrait of Mrs. Aldam Heaton, holding a flower in her right hand, three-quarter face to left. Pencil, From the Schott collection. (255'04) 285. "Eosso Vestita," or "Eed Clad." Full-length figure of a young woman standing slightly to left, three- quarter face, playing with a green jewelled necklace. 59 She wears a stiff brocaded crimson dress, cut square at the neck, and a wide upper garment, without sleeves, gold and jewelled girdle with satchel attached, a rose in her hair, which is of a ruddy golden colour, and a jewel attached to the left shoulder. Signed " Dante Eossetti fece in Londra, 1850." Water-colour. This was the artist's second water-colour. It was, from the date of its execution, until his death, in the possession of Ford Madox Brown, to whom it was presented by Eossetti. According to Brown, it originally formed part of a water-colour drawing, the rest of which was destroyed by the artist, probably a version of the design for "Kate the Queen," in illustration of Eobert Browning's poem. Purchased at Christie's, March 10th, 1900. (452*04) 286. The Laboratory. 1849. The woman wears a seagreen- coloured sacque, edged with blue bows, and a yellow petticoat. Her dress is cut square at the neck and has short sleeves. Her hair is red. The chair from whick she has risen is grey. The chemist is in rusty black, both dressing-gown and cap. The tablecloth is scarlet, and the carpet red. The objects in the background are mainly grey, with touches of subdued red here and there. The flesh is extremely pale. Some paper and parchment-covered books lie beside the chair in the foreground. Water-colour. This drawing has been several times reproduced and described, but although strong in tone hke the water- colour of 1850 ("Eosso Vestita "—see No. 286), it is really a tinted drawing and shows the pen-work throughout. Said to be the artist's first water- colour. Purchased at the sale of W. Bell Scott. (481*04) 287. "Majesty." Christ in Glory with four Angels, two above and two below. Design for stained glass. Water-colour. From the collection of Mr. Trist, of Brighton. (^l^'O^) 60 288- Portrait of Mrs. Schott, nearly in profile, life size study of the head, to left. The hair is drawn back from the forehead, and wound round the crown of the head in heavy plaits. White frill at the neck, gold pendant ear-rings and coral necklace. Signed with monogram in left corner, and dated 1874 to right. Coloured chalks on pale green paper, without back ground. (482*04) 289. Portrait of Mrs. Schott, three-quarter face, life-size study of the head, to left. The hair is drawn back behind the ears and wound in a coil at the back of the head, with the ends loose at the back, and the neck bare. Signed with monogram in left corner, and dated 1874 to right. Coloured chalks on pale green paper, without background. (483*04) 290. Study of a Girl's Head, full face, life-size. The hair is parted and drawn back behind the ears. Narrow. laee-edged collarette, the ends hanging loose, fastened at the neck with a small circular brooch, Gold ear-rings. Signed with monogram above the shoulder to right, and dated 1868. Eed chalk. From the collection of Lord Battersea. (486'04) 291. Portrait of Mrs, Gabriel Eossetti, the artist's mother. Full face, life size, wearing a widow's cap, with long strings hanging loose in front, a narrow turn down collar, and black dress. Grey background. Coloured chalks. This is the last portrait made by the artist of his mother, in 1877. It belonged to Miss Charlotte Polidori, the painter's aunt, and subse quently to Christina Eossetti. Purchased from W. M, Eossetti, (484*04) 292. Mary Magdalen at the Door of Simon the Pharisee, The composition is limited to five figures. Mary Magdalen, who has ascended the steps leading to the house, places her left hand on the low gate barring the doorway, as she removes the flowers from her hair with her right hand. Before the wicket, pre- 61 venting her entrance, crouches one of her female companions. Her lover is standing beside the steps in the foreground to right, looking up in her face, his hand resting on her raised knee. The child with the porringer is seated at the foot of the steps, and a girl in the background to the left is calling to Mary Magdalen to follow her. The head of Christ is seen in profile through the open window to the right. A clear sky above the figures to the left, where the drawing is inscribed "Mary Magdalen." Signed with a monogram in the left lower corner, and dated 1870. Pencil. This, the final design for this subject, was commissioned by Mr. Leyland to be painted on a large scale, but owing to the artist's illness, was never begun. From the Schott and Battersea collections. Exhibited at the New Gallery. (489*04) 293. A Lady with a Fan (Mrs, Schott), half-length, hfe size, seated, holding a feather fan. Coloured chalks. From the Constantine lonides collection. Exhibited at the Burhngton Fine Arts Club. (414*04) 294- Desdemona : The Willow Song. Life-size study, half- length. She is seated to left, looking out sadly in deep thought, her chin resting on her right hand, the elbow supported on her raised knee, and her hair loose. She holds a hand-mirror in her left hand. The neck and arms are bare. Black chalk on pale green paper. From the Artist's sale, 1883. (490*04) Six Designs for the " Story of St. George, ' ' for stained glass : — 295. The Skulls brought to the King. Indian ink. Pur chased from Howell. (241*04) 296. The Princess Sabra drawing the Lot, This design, the second of the series, is the only one that was afterwards completed as a water-colour drawing. The Princess is in a pink and gold habit, her green upper dress embroidered with gold. The old woman 62 who holds the papers from which the Princess has drawn the fatal lot, on which is drawn a death's head, is in purple, with a white head-dress. The nearest of the handmaids wears a dress of subdued crimson with blue sleeves, a coral ornament in her brown hair. Her companion, who clasps her round the waist, is in green embroidered with gold and gold sleeves. Eed and white poppies lie on the floor in the foreground to right. Signed with monogram in scarlet in the left lower corner, and dated 1868, the date when it was coloured. The drawing was made about 1861-62. Water-colour, painted over the original glass cartoon, the outlines of which show through in many places. This picture changed hands many times in a few yea^s, and was once sent to Australia. (494*04) 297. The Princess Sabra taken to the Dragon. Indian ink. Given by D. G. Eossetti to Mr. Fairfax Murray. (242 04) 298. St. George and the Dragon, Indian ink. Purchased from Howell. (243*04) 299. The Eeturn of the Princess. Indian ink. Purchased from Howell. (244'04) 300 The Marriage of St. George. Indian ink. Purchased from Howell. (245*04) 301. (i.) A Gentleman walking between two Ladies, towards the right. He carries his three-cornered hat in his right hand, and his left is on his sword hilt. The lady in front wears a damask sacque and carries a muff and fan. Pen and ink. Undated. About 1852 according to W. M. Eossetti. Mr. Fairfax Murray considers that this and the following drawing are of about the same date ; both are drawn with great freedom, and may be, in his opinion, as late as 1860. (464*04) .e 63 (ii.) A Young Lady in 18th century costume, in profile seated facing to left, playing with her fan. Beside her 18 seated an old lady in black, holding a fan in her right hand, A boy negro servant standing to right at the back of his mistress's chair, with a wine glass on a tray. Pen and ink. Undated. About 1849, according to W. M. Eossetti, but see note to drawing above, (463*04) (iii.) A Lady and Child walking, A grove of trees and hills m the background. The child holds a bough in his hand. Pen and ink on black-edged note-paper. Purchased from W. M. Eossetti. (364*04) 302. Lucrezia Borgia Washing her Hands. Study from life for the figure of Lucrezia. This is the drawing from which the figure was repainted. The back ground remained untouched, as can be seen by •omparing the photograph of the picture in its original state with the picture as it exists, now in the Eae collection. Pencil. Purchased from W. M. Eossetti. (350*04) 303. (i.) Two Lovers at a Window, possibly a design for ' ' Morning Music. ' ' The Lover, to the left, is singing to the accompaniment of a cithern. The lady leans her head against the wall, her right hand resting on her hip, and the left on the window sill. Pen and ink. Purchased from W. M. Eossetti. (361*04) (ii. ) A Girl with a Musical Instrument She holds it and the bow in her right hand, and with her left touches the strings. Pen and ink. From a MS. note-book. Purchased from W. M. Eossetti. (351*04) (iii. ) Proserpine with the fatal fruit in her left hand, the right hand raised to her lips with the pomegranate seed she is about to eat. On a ledge is a two- handled cup in the form of a navette, and fruit. Inscription erased Pen and ink on note-paper. From the Schott collection. (363'04) 64 304. Perseus and Andromeda. Perseus is showing Andro meda the reflection of the head of Medusa. Pencil. Purchased from W. M. Eossetti. (348'04) 305. "Spring," a girl cutting a branch with a pair of scissors. The action of the figure is reminiscent of that in the frontispiece for the "Goblin Market," but the girl in this drawing wears a hood similar to that of the lady in "How They Met Themselves." Pen and ink. Designed for the Seddon Cabinet, and afterwards used for tiles. From the Artist's sale, 1883. Purchased from Mr. Tebbs. (396*04) 306, (*,) Sketch for "Beata Beatrix," much like the final design. Pencil on note-paper. From the Schott collection. (299'04) (ii.) Study for the Hands in "Beata Beatrix." Black chalk on buff-tinted naper. Purchased from W. M. Eossetti. ^ (300'04) 307. (i.) Sketch for "Beata Beatrix," She leans back in a trance, with both hands clasped behind her head, a sundial in front. Early design. Pencil. From the Schott collection, (297*04) (ii.) Sketch for "Beata Beatrix," similar to the pre ceding, but the head is more forward and rests on the right arm. Pencil. From the Schott collection. (298'04) 308, Study of a Head (Miss Ada Vernon, afterwards Mrs. Hemblen), nearly full-face to right, the eyes directed to the front. Pencil. Inscribed on the back, in the handwriting of G. P. Boyce, "Study of Ada, by D. G. Eossetti, bought with other studies by him of the artist by G. P. Boyce, May 22, 1865." Exhibited at the Burlington Club, 1883, No. 123. (455*04) 309. Sketch for "Venus Verticordia." Pencil. From the Schott collection. (333*04) 65 310, Study of the Head of a 'young Gipsy Girl, to left, in profile, wearing a cloak. Pencil. From the artist's sale, 1883, No. 162. (476*04) 311. Portrait of Miss Ada Vernon (Mrs, Hemblen), bust, half Hfe-size, to right, nearly in profile. Dark hair drawn behind her ears, plaited and worn low on the neck. The head is slightly raised and turned towards the right shoulder, which is thrown forward ; the eyes lowered a httle. Dark dress with ruche trimming. Signed with a monogram beneath the shoulder, and dated 1863. Given to Ada Yernon upon her marriage. Purchased from her Son's Executors. (493'04) 312. "Michael Scott's Wooing." The girl, in Scotch peasant's dress, is seated. Michael Scott is kneeling at her feet and holds both her hands in his. Pencil, Purchased from W. M. Eossetti. (347*04) 313. Study of a Head (Ellen Smith), three-quarter face to left, the hair, loosened, hangs on the shoulders, but IS drawn back behind the left ear. Pencil. Inscribed "D, G, E,," to his friend G. P, B,, 1863," Inscribed on the back, in Mr, Boyce's handwriting, "Drawn from Ellen Smith by Dante G, Eossetti, and given by him to G. P. Boyce, April 13th, 1863." (453*04) 314. Tristram and Iseult drinking the Love Potion. Love is seen behind. Pencil. On the reverse of the sheet a sketch from life of Dante with a pomegranate in one hand and a knife in the other, for the picture ' ' Giotto Painting Dante's Portrait. " From the Schott collection. (284'04) 315. Sketch for "Bethlehem Gate." Pencil. From the Schott collection. (301'04) 316. (i.) Sketch of a Young Girl, to the left, bust, holding a cup in both hands. Circular design. Pen and ink on note-paper. (*56*04) 66 (ii.) A Girl Eating Cherries. She holds the cherry bough with her left hand, and is plucking the fruit with her right, and looking round. The head is bowed, and the face to the left. From the Schott collection. (388'04) (Hi.) Head of a Girl with her hair in a net. Pen and ink. From the Schott collection, (267*04) 317. A Lady and Gentleman at a window, in 18th century costume, with an old lady behind on the right. Pencil on note-paper. From the Schott collection. (380*04) 318. A Fight for a Woman. Brush drawing in Indian ink Inscribed in the painter's autograph in the left lower corner, " A Fight for a Woman. " A water-colour exists of it, and a sketch in the possession of Mr. W. M. Eossetti. Purchased from Mr. Tebbs. (395*04) 319. Aspasia teaching Socrates to Dance. Pencil. From the Artist's sale, 1883, ' (397*04) 320. Study of a Girl arranging her hair, half-length, from the same model as No. 323. Pencil. From the Schott collection. (332*04) 321. "Morning Music." Pencil, A sketch for the water- colour drawing that belonged to Mr, William Graham, from which, however, it differs materially, as also from the sketch. No. 322, in this collection. The monogram in the right lower corner has been added. From the Howell sale, Nov,, 1890. (402'04) 322. Sketch for "Morning Music." An attendant combs the Lady's hair, while her Lover sings to the accom paniment of a cithern. Pencil. From the Schott collection. (308*04) 323. Head of a Girl, arranging her hair, which she is dividing into masses ; three-quarter length. Pencil. On the reverse of the sheet a composition of five 67 figures, two of whom are children. A finished pen and ink drawing exists of this unknown subject, in which a Princess takes a glass of wine from an attendant, the scene being in a garden. From the Schott collection. (331*04) 324. (i) "Lady Lilith,*' Probably the first sketch for the well - known picture. Pencil. From a MS. note-book. Purchased from W. M, Eossetti, (342*04) (ii.) Slight Study from life for the "Lady Lilith." On the reverse of the sheet a woman's head. Pencil. From a MS. note-book. Purchased from W. M, Eossetti. (343*04) 325, A Girl, standing in a doorway, plucking fruit with her right hand, her left holding a scarf, which trails from the head round the neck, under the arm, and across the body. Probably drawn from Miss Wilding. Pen and ink. From a note-book. Purchased from W, M, Eossetti, (357'04) 326. Study of a Head (Annie Miller), three-quarter face to right, her hair spread wide over her shoulders, and the hands placed one on the other against the ledge in front. Outline in pencil. Inscribed on the back in Boyce's handwriting : " D. G. Eossetti, the maker of this sketch, to G. P, Boyce, January 26th, 1860," (454*04) 327. Early Study for " Lady Lilith, " a different style to that finally adopted. She holds a comb in her right hand, and her hair is extended by it, and a brush in her left hand. Pencil. Dated 1864. This study is intermediary between the fine picture of "Fazio's Mistress," afterwards named "Aurea Catena," belonging to Mr. George Eae (but not to be con founded with a later design so named, with which it has no connection), and the "Lilith." It is very 68 probable that the idea of " Lilith " grew out of this design. This drawing was exhibited at the Eossetti Gallery, where it was called " Fazio's Mistress." •' (416'0A) 328. Study for the head of Lihth, nearly in profile to the left, life size. This is the study for the present head which replaced the early one in the picture. Black chalk on pale green paper. The drawing has been damaged by a feeble attempt to colour it by the addition of red chalk strokes from right to left across the face and neck. The hair also has been coloured. Acquired at Christie's, April 2nd, 1886, Catalogue No. 91. (496'04) 329. Two Lovers at a Window. The girl is leaning against the open casement, supporting herself on her left hand, while her lover kisses her right, which is extended to him. The monogram and date, 1863, have been added. Pen and ink. A water-colour was painted from this design with some additions — the "Hamlet and Ophelia " now in the possession of Mr, Smalley. From the Howell Sale, November 15th, 1890. A copy exists in Lord Battersea's collection. (401 '04) 330. " The Triple Eose." Sketch for the water-colour drawing, with memoranda in the painter's hand writing as to details of costume, and inscribed with title in right-hand lower corner. Pen and ink. From one of the artist's MS. note-books. Purchased from W. M, Eossetti. A finished drawing of this design, in red chalk, is in the National Gallery. (336*04) 331. "Bianca Dorata." Sketch of a Lady playing a lute. Inscribed above in the artist's autograph. Pen and ink. From one of the painter's MS, note-books, about 1869, as appears from a blotted line transferred to the back, (339'04) 69 332. Study for the Head of the Negro Boy in "The Beloved," done from a young negress. Three- quarter face to right, looking up, thick bushy hair. Black chalk and pencil. Exhibited at the Burhngton Fine Arts Club, No, 127, (472*04) 333. Study for the Head of the Negro Boy in "The Beloved," hfe-size, bust, the head turned to the right, holding a cup in both hands. Black chalk and pencil. On the reverse of the sheet an unfinished study of the head only, in reversed position. The principal study was marked by the artist as the third for this head, and that done from the young negress. No. 332, was the second. Marked on the back, in the handwriting of Mr, Boyce; "Bought, together with other studies of the artist, by G. P. Boyce, May 22nd, 1866." Exhibited at the Burlington Fine Arts Club, No. 131. (473'04) 334. Study for a Negress with short hair, for "The Beloved," life-size, three-quarter face to right, Mr. Boyce has marked this as a study from Mrs. Heaton. It is one of the earlier studies for the head before the artist obtained a suitable model. (47404) Studies for the Title-Page and Frontispiece to Christina 'Rossetti' s "Prince's Progress and Other Poems., " &c. 335. (i.) "The long hours go and come and go, " Finished Study for the figure of the Princess only, Indian ink. (412*04) (it.) "The long hours go and come and go." The Princess looking out of the window. The window is in sharper perspective than in the finished design, and the Princess, wearing her crown, is looking eagerly out, her right hand enveloped in her cloak and the left on her heart. This is the first sketch for the design Pen and ink on note-paper, shaded with the finger. (*25'04) 70 (iii.) Sketch for the more important part of the design of the title-page ("The long hours go and come and go"), squared for enlarging. Pencil. (428*04) (iv.) "The long hours go and come and go." Finished Study for the entire composition with the back ground, for the title-page. Pencil and Indian ink. ^ (413'04) (v.) Sketch for the Princess from life. The head slightly raised, and fallen over towards the right shoulder; tight-fitting bodice. Pen and ink over pencil. (427*04) 336, (i.) Design for the title-page of the "Prince's Progress," with the lettering. The action of the Princess is that finally adopted. The arms are stretched out and resting on the window-sill, the hands clasped. The arm of the chair is seen to the right, afterwards omitted. The face is in shadow, and she wears a tight-fitting bodice and girdle. Pencil. (426*04) (ii.) Sketch for the whole design for the title-page. The enlarged squares show that No. 335 (iii.) was used for this, and the lettering is completely spaced out. Pencil. (429*04) 337. (i.) ''You should have wept her yesterday." Study for the figure of the Lady in the frontispiece. Pencil and Indian ink. (410*04) (ii.) "Too late for love; too late for joy, " The Prince enters with flowers in his right hand, wearing his hat, an earlier moment than that finally taken. The lady, who repels him, wears a long mourning veil. The mourners by the bedside are three only in number. This is the fifth sketch for the wood-cut. Pen and ink on note-paper, shaded with the finger. (418'04) (iii.) " You should have wept her yesterday." Sketch for the entire composition for the frontispiece. Pencil and Indian ink. (406'04 71 (iv.) Study for the kneeling maids and the body lying in state, for the frontispiece. Pencil and Indian ink.(411*04 338. (i.) Study for the Prince in the frontispiece to "The Prince's Progress." He wears a soft cap. Monogram in left upper corner. Indian ink over pencil. This is an early study for the design, and was never used. (424'04) (ii.) Study for the Prince, his right hand hanging by his side, and his left to his face. Pencil and Indian ink. (407'04) (iii.) Study for the Prince, with his right hand to his face, and the left clenched at his side. Pencil and Indian ink. (408'04) (iv.) Study of Drapery for the figure of the Prince, the rest of the figure in outline only, except the hah. Pencil and Indian ink. (409'04) These designs formed part of the collection of Mr. C. A. Howell in 1866, who also possessed the drawings for the wood-cuts in " Goblin Market." At the Howell Sale they were divided between Mr. Anderson Eose and Mr. Frederick Leyland. Nos, 406'04 to 411'04 were exhibited by Mr. Eose at the Burlington Fine Arts Club and the Cordwainers' Guild, and, together with Nos, 412'04 and 413'04, were acquired at his sale. May 5th, 1891. The others, including several not at present exhibited here, were acquired at the Leyland Sale. 339. Angels playing musical instruments. Leafy boughs divide the figures. Perhaps an alternative design for the background of " The Blessed Damozel. ' ' Pen and ink From a MS, note-book. Purchased from W. M. Eossetti. (336*04) 72 340. Portrait of Mrs. WiUiam Morris, dated February 18th, 1871, in the left-hand lower corner. From the Artist's Sale in 1883. Engraved for an article by Mr. Comyns Carr in "The English Illustrated Magazine." Pen and ink. (394*04) 341. " Astarte Syriaca." First sketch for the picture, from which it differs considerably. She holds her girdle in her hands, and the spirits are bodiless. Pen and ink From one of the artist's MS. note-books. From the Artist's sale, 1883. (398'04) 342. "The Loving Cup." Study for Mr, Ley land's picture. Pencil. Exhibited at the Eossetti Gallery, From the Schott collection, (415*04) 343, "Pandora." The background is a wooded hillside, and the spirits form a smoky cloud round her head. Figure facing to left. Pen and ink. From a MS. note-book. Purchased from W. M. Eossetti. (338*04) 344. A Lady seated at an embroidery frame (?), a peacock screen in the background. Pen and ink. Prom a MS. note-book. Purchased from W. M. Eossetti, (355*04) 345. " The Death of Lady Macbeth." Sketch for the entire composition. Like most of the late drawings, this is done on a folio sheet of paper. Pencil. From the Schott collection. (346*04) 346. Drapery Study for Two Girls dancing, in the picture called "The Bower Meadow." The girl whose back is turned wears the costume of a South Italian peasant, and has her hair braided. The hair of her companion is loose. Black over red chalk outline. Traced from the nude study. A second outline transfer from the study is beside the finished drawing, used for guidance while working. Inscribed by the artist in the lower left corner, "For G. P. B," Mr. Boyce has added the date, 1872. Purchased from the Boyce sale. (475*04 73 347. Study of the Hand of Dante holding that of Love for the picture "Dante's Dream." Life size. Pencil. Purchased from W. M. Eossetti. (344*04) 348.. "Water Willow." The finished cartoon for the picture that was formerly in Mr, Turner's collection, and now belonging to Mr, Bancroft, Jun,, of Wilmington, Del., U.S.A. The background of the drawing shows only a winding stream ; the view of Kelmscott was added in the picture. This drawing was done at Kelmscott in 1871, and the date is beneath the painter's usual monogram, in the right- hand top corner. Coloured chalks on greenish-grey paper. From the Schott and Cornelius Cox collections. • (391*04) 349. A Lady seated with a bowl of flowers in her hand. resting on her knee. The right arm rests on a table at her side, on which is placed a bottle. A curtain in the background, with a wreath suspended. The dress is cut low at the neck, with short sleeves. Pen and ink on note-paper. From the Schott collection. (362*04) 350. Study of a Young Lady seated to left, with her feet on the fender. Her right hand supports her chin, and with the left she holds the hem of her turned-up dress. To the right of the sheet there is a smaller outline sketch with the head more bent. Pencil, From the Artist's Sale, 1883, Catalogue No, 115. (477'04) 351. "Orpheus and Eurydice." Pluto and Proserpine enthroned in the centre, with Orpheus and Eurydice below, the latter stretching her arms across the space between them, occupied by two spirits. Study for the finished drawing belonging to Colonel Gillum, Pencil. Purchased from W. M. Eossetti, (349*04, 352 Study of Two Lovers embracing. Study for one of the groups in the background of ' ' The Blessed Damozel, ' ' The girl's head rests on her lover's left arm, as she 74 clasps him round the waist, while she is folded in his arms, his head resting on her right shoulder. Pencil and red chalk. From the Artist's sale, 1883. (432*04) 353. Study of Two Lovers embracing, for the background of "The Blessed Damozel." Black chalk. From tbe Schott collection. (345*04) 354 "The Question," or "The Sphinx." The finished design. Pencil. From the Artist's sale, 1883, Catalogue No. 197. (239'04) The collection includes the following slight Sketches by D. G, Rossetti which are not at present prepared for exhibition : — Head of a Young Man, three-quarter face to left, on red paper. Pencil. Mr. W. M. Eossetti thinks this to be a portrait of William North, author of " Anti- Coningsby," who poisoned himself in America, about 1855. From the Schott collection. (253*04) Portrait of Mrs. Dante Eossetti, standing at an easel, holding the back of a tilted chair. Tracing in pencil, from the drawing belonging to Mr. H. T. Wells, E.A. About 1859. From the Schott collection. (256*04) ' ' Queen of Hearts ' ' (Mrs. Dante Eossetti), holding a pansy in her left hand. Heart-shaped shield with monogram, dated 1860. Tracing in red chalk. Sketch for the picture belonging to Mr. Severn. From the Schott collection, (257'04) Christina Eossetti, nearly full face, in ink on blue paper, mutilated. On the reverse of the sheet a sketch of an Eastern flat roof, possibly done during conversation by Hunt or another. Pen and ink. Purchased from W. M. Eossetti. (262*04 H. T. Dunn. Two heads drawn with the aid of the camera lucida, on a sheet of Mr. Murray Marks's note- paper, who was present when they were done. Pen and ink. (263*04 75 Fanciful sketch of two figures suggested by some blotted markings in colour on a small oriental dish that once belonged to Mr, Murray Marks, Eough sketch in common ink on bluish paper. (324*04) Madonna Pietra, with the title in the painter's autograph inscribed above. Pen and ink sketch on note-paper. Purchased from W. M, Eossetti. (337*04) A Man looking out of a quatrefoil window. Circular design. Pen and ink. From the Schott collection. (366'04) Eough sketch for the picture " Lygea Syren," or "The Sea Spell." A girl playing a musical instru ment. Pen and ink on note-paper. From the Schott collection. (367*04) Two figures engaged in Weaving. Taken from Viollet-le-Duc. Pencil. From the Schott collection, (382'04) Portrait of D. G, Eossetti, October, 1861, This is a close copy of the original once in the Schott collec tion and now here. No. 272. It was probably made by Miss Corder. Pencil, From the Howell collection. (403'04) "The Prince's Progress." A slight sketch for No, 337 (ii,). The action of the lady is nearly that of the final study, and the mourners are arranged in two rows. Pencil. (419'04) "The Prince's Progress." Tracing from another sketch for No. 337 (h.). The Prince wears his hat, and still holds the bunch of flowers which, in the final design, have fallen to the floor. Eed chalk on tracing-paper. Prom the drawing formerly in the possession of Mr. Anderson Eose. (420*04 " The Prince's Progress." The two principal figures traced from the studies. The Prince here wears a crown. Eed chalk on tracing-paper. (421'04) 76 "The Prince's Progress." A tracing of the whole composition, with the Mourners. The Prince's head is uncovered, and the whole design is nearly com plete, Eed chalk on tracing-paper. (422*04) " The Prince's Progress." Tracing of the study for the Mourners, corrected as finally designed. Eed chalk on tracing-paper. (423*04) "The Prince's Progress," Tracing of No, 336 (ii.), but without the background. The head of the Princess is more thrown over than in the final drawing. Eed chalk on tracing-paper, (430*04) "The Prince's Progress." Tracing of the Princess, with the background. The head corrected to the more upright position. Eed chalk on tracing-paper. (431'04) Sketch of a Young Woman in profile, seated to the right, leaning back, her left arm above her head, her right in her lap. Pencil, on an envelope. (441 '04) Sketch of a Young Woman crouching to right, as if listening at a door. Pencil on note-paper, (443*04) A Young Man, standing to left, in mediaeval costume, raising his hat. He is cloaked, and holds a cord (?) in his left hand. Pencil on note-paper. (444*04) A Pelican, standing to left, his bill touching his breast.. Pen and ink outline, probably a design for glass, (445*04) Sketch of a Young Man, profile, to left, with short beard and whiskers, and long hair. Unknown, On the reverse of the sheet a similar sketch of Walter Deverell, profile, to left. Pen and ink. This and the preceding four sketches, with some others, were formerly in the J, P, Seddon collection, (446*04) 77 "Mary Magdalen at the Door of Simon the Pharisee." First sketch for the composition, hmited to the two principal figures of the final design. Pen and ink. (458'04) "Bonifazio's Mistress." First sketch for the com position, not materially different from that finally carried out. Pen and ink, (459'04) Sketch of a Young Girl, full length, standing to left, holding a feather fan in her right hand, and a satchel in her left. To the right above is the sketch of a Young Man on a larger scale. On the reverse of the sheet a Gentleman in modern dress, standing with his hands on his hips. Above, and to the right, are two female heads in outline on a larger scale, and to the extreme right of the sheet a sketch of a Young Servant Girl standing to left, in profile, pointing with her right hand over her shoulder. Pen and ink on quarto note paper. Undated, but marked by W, M, Eossetti, about 1845, (46l'"4) A Young Woman walking, to right, nursing a baby in long clothes. To the left, drawn in a different direction on the same sheet, a Girl kneeling down, as if to pluck something from the ground, the left arm uplifted. Pen and ink on note-paper, (467*04) Two Designs on one sheet for a Couch, to be seven feet in length, and two feet three inches wide. Matting at front and sides. The frame is chequered, and probably intended to be decorated in black and gold. Pen and ink and pencil. It was executed and exhibited at the International Exhibition ot 1862 by the firm of Morris, Faulkner & Co. Formerly in the possession of Mr. Philip Webb and Mr. S. C. Cockerell. The directions on the drawing are mostly in the handwriting of William Morris. (471'04) 78 The collection also contains the following: — G. P. BOYCE. 355. Landscape : Thorpe, Derbyshire. A village church and buildings among trees, seen from rising ground over a gate in the left foreground, and across a sloping field. Autumn. Signed in red in the right- hand lower corner : " G. P. Boyce, 1879-80. " Water- colours. FORD MADOX BROWN. 356. Portrait of Miss Iza Hardy. Half-length, life size, seated to right in a high-backed armchair. Face to the front, slightly bent to right, lips parted, and hands clasped in her lap with the fingers interlaced. Dark brown hair coiled round the head in a plait ; black dress cut low at the neck, and a red silk scarf round shoulders. Inscribed in the left upper corner "Iza Hardy," and signed with a monogram and dated "72."" Coloured chalks. FREDERICK SANDYS. 357. Portrait of a Lady. Bust, facing to front, the head turned to left, and slightly bent down. Blue eyes, and fair hair, dressed high and bound round several times with a very narrow pale blue ribbon. White dress open at the neck, and necklace of four strings of turquoise beads. Branches of a laurel tree against a plain background. Unsigned .and undated. Black and coloured chalks. ' NEAVNES' ARX LIBRARY A Series of Volumes Illu^tlve^f^heJVork of tbe Great Artists. Each volume contains about 64 fulloatre inii«trat;.,„„ • in photogravure, ^ ^^ -llustrations m monochrome, and a frontispiece The text is mainly biographical and descriptive and incln.lA .=¦ 1; t r.i • ¦ , the artist under consideration, ^ ' '"<-'"^le.-, a list of the pnncipal works of The volumes are bound in quarte,-^elIum^wiH^^ ,ides, and published at 3/6 net. SOME EARLY VOLUMES ARE- il^-^^P^^?^ BURNE.J0NES. By Malcolm Bell BOTTieELLI. By Richard Davey SIR JOSHUA REYNOLDS. By A Lvs Baldry YELaSQUEZ. By A. LY.S Baldry. e©NSTaBLE'S SKETCHES. By Sir J. D. Linton. BEN0ZZ© G0ZZOLI. By Hugh Stokes. RHPHHEL,. By Edgcumbe Staley. \RN OYCK. By Hugh Stokes. TITIHN. By Malcolm Bell. PaOL© YER©NESE. By Mrs. Arthur Bell. G. F. WaTTS. By Dr. R. Pantinf, PUYIS DE enaYaNNES. Bv Arsene Alexandre, OTHER VOLUMES IN PREPARATION. ^'^ The pictorial representation of the works is carefully and successfully done."— V'he Globe, It IS a marvellous thrce-and-sixpeiice worlh. One gets deliy:hlful reproduction-* o'i some of the most beautiful pictures in the world on a pag-e about the size ot an ordinary photograph at the rate ot thric for nvopence." — The Queen. Drawings by great mastersT The Drawings in this new series will be reproduced on a large scale on a page 11 Jin. by 8Jin. The Volumes will each contain forty-eight Reproductions, many of them printed in tints, and of these four or five will be mounted on a coloured paper in harmony with the tint in which the Illus tration is printed. The Volumes will be bound in dehcately tinted paper boards with vellum backs, with a beautiful design by H. Granville Fell, printed in three colours. Quarto, 7/6 net, each. BURNE*J©NES. By T. Martin Wood. H©L,BEIN. By A. Lys Baldry.- aLBREeHT DiJRER. By Dr. Hans Singer. HiEWNES' LIBRARY OF THE APPLIED ARTS. This new series should be of a really practical value to Collectors and Students. Care has been taken lo avoid all unnecessary and unimportant details which might in any way perplex the general reader. The Volumes will be illustrated profusely, and great care will be taken that the illuslrations shall be of the highest quality. The Volumes will be bound in Art Canvas, with a handsome design by H. G. Fell. Medium 8vo. (sfin by gin.), 7s, 6d, net, DUTCH P0TTERY aiVD P©ReELailV. By W. Pitcairn Knowles. ©LD ENGLISH FURNITURE. By Frkderick Fenn. GEORGE MEWMES, LTD., 3 to 12 Southampton Street, Stfand, LOKDOH, W.G. Ready Shortly. Memorials of Edward Burne-Jones, By G. B-J. With 45 Photogravures and other Illustrations. In 2 vols. 8vo. Printed on hand-made paper. Macmillan & Co., Limited, London. -H'The Grand Hotel h- COLMORE ROW, BIRMINGHAM. Telegrams: "GRAND HOTEL, BIRMINGHAM.' Telephone : 05324. CH. GROSSI, Manager PERMANENIT R|P^6DUCTJ0NS * OF ThV PJ0*Fu4£e* AND EN fO V\mj6B^ t)A(fc.Y FROMM& AM TO 6 If M AftJD _. . \0*l MONDAVS Pno^^lO A,M^^TOr10 WW 'PmtMi'^^ P^Cm LIFE ARE ty^KEw' ON MOI^DAYS ONLY. ' .%» jAfpOttfrMErfT 18 aoviAaple " * '''- « J- >Lt.g^TftAT,6D OAtAX.(iavk$ PO«T FREE. ,12 BTAMf»e ¦ " ^ -'''' ¦ I r "" ' ^'- - ' - . n - L,. 1 _- I. A.;LtX>fb, K^ SgilSS^jJ • . . . Bing !atrt Dwder. B. ^. tEAIJER, I^.A« "' JOHN SYER, IO** v'\'t» iU.S0 A GOU^CTION OF Old WbfecEstER & Oriental China. \ > " ^^ '^ .¦*< 5rTEpriENSON CHAMBEjis/30& NEW STREET, " '(Opposite '^dhnd Hotci) *". ' / . . B/RMINGHAM. Dealer in Works of Art ¦IHIIIia«IIIU«lllll*»MIIII(MI«HUlllAlllllllllllllllliiMrflltllllM*lt>**lM* •¦•¦>•¦ "^¦¦'¦¦M*****'**"*""'**^" PrCTURE FRAME MAKER. + H«HuiiiiihiitiiirMJ'kifttiiiit'i>nW>ianiiiiiiitiii4i'tiiifiMiititiiiiilMfiilfiimfliiiiiifiii|tiiiirnifi|iiHIH4 A Choice collection of FiGTURES IndWigag "WORKS by W. ;, WAUMWRIOHT, > - W.IANGLEY, : r, SYDNEY COOPER, • Vk.^dawson, - C B. J0HN50N, v'^Xr:'C;T.BURT, - ..and otbeiSf ALL THE SEASONS PUBLICATIONS IN^ • ENGRAVING,ETCHING AND MiSZZOTINT, IN PROOF AN6 OTHER STAITE. ^ew puctems and S>t9tQn9 in jftmnes. THE LARGEST SELECTION OF AUTOTYPE REPROMJCTIONS IN BIRMINGHAKI H$M^0Pirf^^^^^ yntt^lete for Ottf 0||||iei*'; n^^Btkymiis ' auBACHfeix;; :2 '¦¦•'^ m YALE UNIVERSITY L 3 9002 08854 0746