File:Pre-Raphaelitism and the pre-Raphaelite brotherhood (1905) (14776715604).jpg

Identifier: preraphaelitismp02hunt (find matches)
Title: Pre-Raphaelitism and the pre-Raphaelite brotherhood
Year: 1905 (1900s)
Authors: Hunt, William Holman, 1827-1910
Subjects: Pre-Raphaelitism Painters -- Great Britain
Publisher: New York, The Macmillan Company London, Macmillan & Co., ltd.
Contributing Library: New York Public Library
Digitizing Sponsor: MSN

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ollowed under happycircumstances and in light mood. The task in its deviousand uncertain course had condemned many lighter works,already begun, to be put aside for ever. My firstcare was to select such of these as could be redeemed,and to finish them, thus giving myself comfortingdistraction. I subsequently called in my reliner to conferupon a scheme for cutting out the defective centre of theJerusalem painting, and replacing it with a new piece ofsound canvas. This could have been done before, but Ihad observed that many pictures so treated with apparentthorough success had in the course of twenty years or sorevealed the join by the two sharp edges of the canvasturning upwards. My plan now was to make the insertedsquare an inch or so larger than the aperture, to unravel theedges of this and also of the surrounding cloth, to weavethem together and lay them down on a sound backing,so that there would be no sharp edge anywhere. Thecanvas was so treated, and I was able after this to com-
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Ithe: (public J^ XII PRE-RAPHAELITE BROTHERHOOD 343 plete the central portion of the composition, and finish itto my satisfaction. The two pictures have many differ-ences, both in colour and form. It was an occasion ofthe greatest joy to me when both of them were com-pletely tinished, and I had no longer to fear the possibilityof further painful surprises. The first finished picturewas exhibited in Bond Street, and reproduced by photo-gravure. In this print the forms, even to their exact parts,were delightfully perfect, they could not have beenbetter ; but the light and shade were so wanting in severalparticulars (which, it turned out, could not be corrected onthe plate itself) that on each artists proof it was necessaryto remedy the defects by work of hand. Unspeakable wasthe relief when at last I could turn away from the subjectand was free for other work. The next season, at theinvitation of the Fine Arts Society, I gathered togetherall my available works. The Rienzi, ^ in conseque

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