THE PRE-RAPHAELITE ARTISTS 325

less so the contending of doubt and distress with awakening hope in the half-shadowed, half-sunlit countenance of Julia. Nay, even the momentary struggle of Proteus with Sylvia just past, is indicated by the trodden grass and broken fungi of the foreground. But all this thoughtful conception, and absolutely inimitable execution, fail in making immediate appeal to the feelings, owing to the unfortunate type chosen for the face of Sylvia.¹ Certainly this cannot be she whose lover was

“As rich in having such a jewel,

As twenty seas, if all their sands were pearl.”²

Nor is it, perhaps, less to be regretted that, while in Shakspeare’s play there are nominally “Two Gentlemen,” in Mr. Hunt’s picture there should only be one,-at least, the kneeling figure on the right has by no means the look of a gentleman. But this may be on purpose, for any one who remembers the conduct of Proteus throughout the previous scenes will, I think, be disposed to consider that the error lies more in Shakspeare’s nomenclature than in Mr. Hunt’s ideal.

No defence can, however, be offered for the choice of features in the left-hand figure of Mr. Millais’ “Dove returning to the Ark.” I cannot understand how a painter so sensible of the utmost refinement of beauty in other objects should deliberately choose for his model a type far inferior to that of average humanity, and unredeemed by any expression save that of dull self-complacency. Yet let the spectator who desires to be just turn away from this head, and contemplate rather the tender and beautiful expression of the stooping figure, and the intense harmony of colour in the exquisitely finished draperies; let him note also the ruffling of the plumage of the wearied dove, one

¹ [Mr. Holman, Hunt, referring to this passage, says: “The letter [by Ruskin] on my ‘Valentine’ admitted the weak point in my picture. A man had at the last robbed me of £15; this occasioned me to lose my time, and I sent the picture in imperfect in the Sylvia’s head. I afterwards rectified this” (Contemporary Review, May 1886, p. 747).]

² [Two Gentlemen of Verona, Act ii. sc. 4. The scene of the picture was taken from Act. v. sc. 4.]

[Version 0.04: March 2008]