Rossetti's tale, and yet may be partly traced there) that the artist
cannot attain to adequate self-expression save through a stern study
and realization of natural appearances. And it may be said that to
this core of the Praeraphaelite creed Rossetti always adhered
throughout his life, greatly different though his later works are
from his earlier ones in the externals of artistic style. Most of
"Hand and Soul" was written on December 21, 1849, day and night,
chiefly in some five hours beginning after midnight. Three currents
of thought may be traced in this story: (1) A certain amount of
knowledge regarding the beginnings of Italian art, mingled with some
ignorance, voluntary or involuntary, of what was possible to be done
in the middle of the thirteenth century; (2) a highly ideal, yet
individual, general treatment of the narrative; and (3) a curious
aptitude at detailing figments as if they were facts. All about
Chiaro dell' Erma himself, Dresden and Dr. Aemmster, D'Agincourt,
pictures at the Pitti Gallery, the author's visit to Florence in
1847, etc., are pure inventions or "mystifications"; but so
realistically put that they have in various instances been relied
upon and cited as truths. I gave some details as to this in my Memoir
of Dante Rossetti. The style of writing in "Hand and Soul" is of a
very exceptional kind. My brother had at that time a great affection
for "Stories after Nature," written by Charles Wells (author of
"Joseph and his Brethren"), and these he kept in view to some extent
as a model, though the direct resemblance is faint indeed. In the
conversation of foreign art-students, forming the epilogue, he may
have been not wholly oblivious of the scene in Browning's "Pippa
Passes" (a prime favourite of his), where some "foreign students of
painting and sculpture" are preparing a disagreeable surprise for the
French sculptor Jules. There is, however, no sort of imitation; and
Rossetti's dialogue is the more markedly natural of the two. In