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The passage mentions that at various points, scientists have believed all of the following
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Since her own era, Christina Rossetti's devout Christianity has often been
seen as a characteristic setting her apart from the other avowedly non-Christian
members of the Pre-Raphaelite circle. In designating their movement a form. of
Line "aesthetic mysticism", one established critic, Alice Law described the place
(5) Pre-Raphaelitism holds in the development of Victorian artistic culture as a
movement away from a predominantly religious and moralizing function toward
a culture of aestheticism—precisely what Rossetti's work has long been thought
to reject. The Pre-Raphaelites' attention to picturesque detail, the medievalist
atmosphere and settings, the pervasive melancholy of their works, and their
(10) awareness of their art's primarily Christian literary and pictorial origins—all
these have been traditionally downplayed in their similarity to the
characteristics of Christina Rossetti's poetry.
This belief persists, despite the distinctly religious "atmosphere" of much
of the work produced by both generations of Pre-Raphaelites: its employment of
(15) biblical images and typology; of religious figural language; and, more especially
and pervasively, of medievalist backgrounds and settings that were seen by
their early audiences to have clearly devotional, if not dangerously "Romanist",
associations. When discussing Pre-Raphaelitism as an historical movement, we
must remember that the first brotherhood was inspired largely by a sacramental
(20) aesthetic that tended to alienate Victorian society, which generally abhorred the
notion of sacrifice. It is true that Rossetti's traditional solution to the Romantic
and Victorian literary problem of alienation from nature and the more
characteristically Victorian problem of despair at life's meaninglessness, was
fundamentally Christian. But with few exceptions, Rossetti relied on the
(25) colloquial and angst-ridden language of both generations of Pre-Raphaelites.
Even Swinburne, the Pre-Raphaelite whose anti-orthodoxy and iconoclasm seem
to conflict most profoundly with Rossetti's values, enthusiastically hailed her.
That most Victorians themselves perceived Christina Rossetti as
unequivocally Pre-Raphaelite in her poetic affinities is clear, for throughout her
(30) poetry and much of her prose Christina Rossetti demonstrated true and deep
affinities with Pre-Raphaelite aesthetic values, in both innovative and traditional
ways. We must not forget her "pictorial" modes of representation, the medieval
atmosphere and settings that appear repeatedly in her poems, her appreciation
of the world's physical beauty and its expression in lush images, the intensity of
(35) her poems, which seems inseparable from their "sincerity", and not least her
preoccupation with love. To a greater extent than figures more peripheral to
the Pre-Raphaelite circle, Christina Rossetti produced works that appear to be
dominated by the same aesthetic consciousness and literary values that make
Pre-Raphaelitism the central movement which unintentionally spawned the
(40) aestheticism of the 1880s and 1890s. Pre-Raphaelitism, in fact, influenced
aesthetic thought in a way that made the
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These so-called facts are the product of considerable______in the analysis and exposition
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