speaking," "I said, full knowledge," "She stood a moment," "Almost
unwittingly"; and he made some other verbal alterations.{2} It will
be observed that this poem was written long before the Praeraphaelite
movement began. None the less it shows in an eminent degree one of
the influences which guided that movement: the intimate intertexture
of a spiritual sense with a material form; small actualities made
vocal of lofty meanings.

{2} I may call attention to Stanza 16, "She stooped an instant." The
word is "stooped" in "The Germ," and in the "Poems" of 1870. This is
undoubtedly correct; but in my brother's re-issue of the "Poems,"
1881, the word got mis-printed "stopped"; and I find the same
mis-print in subsequent editions.

By Dante G. Rossetti: "Hand and Soul." This tale was, I think,
written with an express view to its appearing in No. 1 of our
magazine, and Rossetti began making for it an etching, which, though
not ready for No. 1, was intended to appear in some number later than
the second. He drew it in March 1850; but, being disgusted with the
performance, he scratched the plate over, and tore up the prints. The
design showed Chiaro dell' Erma in the act of painting his embodied
Soul. Though the form of this tale is that of romantic metaphor, its
substance is a very serious manifesto of art-dogma. It amounts to
saying, The only satisfactory works of art are those which exhibit
the very soul of the artist. To work for fame or self-display is a
failure, and to work for direct moral proselytizing is a failure; but
to paint that which your own perceptions and emotions urge you to
paint promises to be a success for yourself, and hence a benefit to
the mass of beholders. This was the core of the "Praeraphaelite"
creed; with the adjunct (which hardly came within the scope of