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Additional resources for The Pre Raphaelite Tragedy
So many of Gabriel's friends came and went that it was difficult to know who was who. Gabriele was Gabriel's father. With a black cap on his head, a shade over his failing eyes, a large snuff-box and manuscript book conveniently to hand, he had all the melancholy importance and industry of a refugee and a patriot. Exile of Vasto in the Abruzzi, one of the most noted improvisatori of Naples, former curator of Ancient Bronzes in its Museum, librettist to the operatic theatre of San Carlo and with a certain exquisite talent in pen-and-ink drawing, he was the worthy parent of an unusual son.
So he and Hunt, the executant and the reformer, concocted a plot to develop this new way of painting and thus launch themselves on the way to fame. III-ENTER A THIRD IT was at this point and in the year 1847 that a strange being crossed the path of the two young artists. A fascinating, careless, wayward, capricious, irreverent, dominating being. A London Italian. Not even a professional painter — a sort of poet or a poet and something of a painter as well. Spouting endless verses, some of them his own.
Long light curls fell over his goffered collar, his face was fresh-coloured and open, his eyes a candid blue. He wore a tunic with a cloth belt, short trousers above white socks and patent leather shoes. They passed him from hand to hand over the seats, while the students laughed and clapped and the platform smiled approval. 'The Child* was the darling of the institution, destined, it would seem, by nature, for all its honours; but little did those approving academicians know that in a glance that had passed was the first spark of a mighty rebellion.