On Tintoretto, see Cross, II, 201-04, and "Italy 1864," entry for May 16. Ruskin ranked the painting among the "few works of man so perfect as to admit of no conception of their being excelled" see "Preface to the Second Edition" of Modern Painters I, in Works, III, 13.Ĩ. Jameson called The Sistine Madonna "probably the most perfect picture in the world" in Memoirs of the Early Italian Painters (London: Charles Knight & Co., 1845),1I, 147. Philip Wakem refers to the Sistine Madonna in The Mill on the Floss when he tells Maggie: "The greatest of painters only once painted a mysteriously divine child" (V, 1:58). James himself acknowledged the importance of the Sistine Madonna to George Eliot when he placed two photographs of it, together with all of her writings, in the Cape Cod cottage of his feminists in The Bostonians (chap. The half-ltalian heroine, Isola Churchill, has "a pale, olive complexion, large lustrous eyes, black hair, and a certain look of Raffaelle's Sistine Madonna." Later, the hero, Percy Ranthorpe, spends "some months" in Dresden, returning to London only "when he knew by heart every tint of the Sistine Madonna. Furthermore, the Sistine Madonna is mentioned twice in Lewes's early novel, Ranthorpe (London: Chapman and Hall, 1847), pp. Kaminsky (Lincoln: University of Nebraska Press, 1964), p. Literary Criticism of George Henry Lewes, ed. A more articulate discussion of the painting occurs in Lewes's essay on "Realism in Art: Recent German Fiction," Westminster Review, 70 (1858), 493-94 rpt. Lewes's journal for 20 July 1858 ( Letters, II, 472). 87-90 and Marghanita Laski,"The Music of Daniel Deronda," The Listener, 96 (23 September 1976), 373-74.ģ. Redinger, George Eliot: The Emergent Self (New York: Alfred A. Levenson, "The Use of Music in Daniel Deronda," Nineteenth-Century Fiction, 24 (1969), 317-34 Ruby V. 6-20, 38-68 and "Music and Musical Allusion in The Mill on the Floss," Criticism, 16 (1974), 232-46 Shirley F. On George Eliot and music, see Sullivan, "George Eliot and theįine Arts," pp.
Where possible, bibliographical information appears in the form of in-text citations, which refer to the bibliography at the end of each document.Ĭlicking on superscript numbers (which do not form a sequence) brings you to bibliographical notes, which will appear in the left column hitting the back button on your browser returns you to your place in the body of the main text.Ĭlicking on links in the text bring you either to the author's notes, which will appear in the left column, or to material in the Victorian Web.Ģ. Numbers in brackets indicate page breaks in the print edition and thus allow users of VW to cite or locate the original page numbers. Landow created the first of several web versions, the latest of which saw completion in June 2009. It has been included in the Victorian Web with the kind permission of the author, who of course retains copyright. Frederic Leighton's Illustrations of RomolaĬhapter 3 of the author's George Eliot and the Visual Arts, which Yale University Press published in 1979. History Painting and Idealization of Character
George Eliot's Theory of Ut Pictura Poesis George Eliot's Knowledge of the Visual Arts
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