"Dante, in fulfilment of this prophecy, is seen descending the palace stairs of the Can Grande, at Verona, during his exile. He is dressed in sober grey and drab clothes, and contrasts strongly in his ascetic and suffering aspect with the gay revellers about him. The people are preparing for a festival, and splendidly and fantastically robed, some bringing wreaths of flowers. Bowing with mock reverence, a jester gibes at Dante. An indolent sentinel is seated at the porch, and looks on unconcernedly, his spear lying across his breast. A young man, probably acquainted with the writing of Dante, sympathises with him. In the centre and just before the feet of Dante, is a beautiful child, brilliantly dressed and crowned with flowers, and dragging along the floor a garland of bay leaves and flowers, while looking earnestly and innocently in the poet's face. Next come a pair of lovers, the lady looking at Dante with attention, the man heedless. The last wears a vest embroidered with eyes like those in a peacock's tail. A priest and a noble descend the stairs behind, jeering at Dante."[3]
It was the Golden Hours which, though perhaps less memorable and imaginative than the others, won the greatest popular success of the three, a success beyond anything that the artist had so far painted. As this picture is here reproduced, description is needless, except so far as regards the colour of the background, which is literally golden. The dress of the lady who leans upon the spinet is white, embroidered with flowers. The Orpheus and Eurydice showed that the old friendship, formed originally in Rome, between the painter and Robert Browning, was maintained. Some of the poet's lines served as a text for the picture; and as they are little known we repeat them here:
"But give them me—the mouth, the eyes, the brow—
Let them once more absorb me! One look now
Will lap me round for ever, not to pass
Out of its light, though darkness lie beyond.
Hold me but safe again within the bond
Of one immortal look! All woe that was,
Forgotten, and all terror that may be,
Defied,—no past is mine, no future! look at me!"
HELEN OF TROY (1865)
By permission of Messrs. Henry Graves and Co.
ORPHEUS AND EURYDICE (1864)
To this year, also, belongs a portrait of The late Miss Lavinia I'Anson, a circular panel showing the sky for background. This was exhibited again in the winter Academy of 1897.