2. Pre-Raphaelites: Curator's choice - Millais's Isabella
Curator Jason Rosenfeld reveals the story behind John Everett Millais's painting Isabella and explains why this historical work is inherently modern. Millais's Isabella is one of over 150 works currently on show at Tate Britain in the exhibition Pre-Raphaelites: Victorian Avant-Garde. Pre-Raphaelites: Victorian Avant-Garde is at Tate Britain (2013)
3. Sir John Everett Millais, Christ in the House of His Parents
Sir John Everett Millais, Christ in the House of His Parents, 1849-50, oil on canvas, 864 x 1397 mm (Tate Britain, London)
5. Sir John Everett Millais, Ophelia
Sir John Everett Millais, Ophelia, 1851-52, oil on canvas, 762 x 1118 mm (Tate Britain, London)
8. Millais, Mariana
Sir John Everett Millais, Mariana, 1851, oil on wood, 597 x 495 mm (Tate Britain)
11. Millais, The Vale of Rest
Sir John Everett Millais, The Vale of Rest: where the weary find repose, 1858 (partially repainted 1862), oil on canvas, 40 1/2 x 68 inches (Tate Britain, London) Speakers: Dr. Beth Harris and Dr. Steven Zucker
13. Hunt, Claudio and Isabella
William Holman Hunt, Claudio and Isabella, 1850, oil on mahogany, 758 x 426 x 10 mm (Tate Britain) From William Shakespeare's Measure for Measure, Act III, scene 1 (a room in a prison): ISABELLA What says my brother? CLAUDIO Death is a fearful thing. ISABELLA And shamed life a hateful. CLAUDIO Ay, but to die, and go we know not where; To lie in cold obstruction and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods, or to reside In thrilling region of thick-ribbed ice; To be imprison'd in the viewless winds, And blown with restless violence round about The pendent world; or to be worse than worst Of those that lawless and incertain thought Imagine howling: 'tis too horrible! The weariest and most loathed worldly life That age, ache, penury and imprisonment Can lay on nature is a paradise To what we fear of death. ISABELLA Alas, alas!
15. Hunt, Our English Coasts ("Strayed Sheep")
William Holman Hunt, Our English Coasts ('Strayed Sheep'), 1852, oil on canvas, 432 x 584 mm (Tate Britain, London)
18. Hunt, the Awakening Conscience
William Holman Hunt, The Awakening Conscience, 1853, oil on canvas, 762 x 559 mm (Tate Britain, London)
21. Pre-Raphaelites: Curator's choice - Ford Madox Brown's 'Work'
One of the most radical paintings of the Pre-Raphaelite movement is Work by Ford Madox Brown, which attempts to capture the entire social fabric of Victorian London in a single scene. Curator Tim Barringer explores its multiple stories. Ford Madox Brown's Work is one of over 150 works currently on show at Tate Britain in the exhibition Pre-Raphaelites: Victorian Avant-Garde (2013).
24. Wallis, Chatterton
Henry Wallis, Chatterton, 1856, oil on canvas, 622 x 933 cm (Tate Britain, London)
26. Dyce's Pegwell Bay, Kent - a Recollection of October 5th, 1858
William Dyce, Pegwell Bay, Kent - a Recollection of October 5th 1858-60, oil on canvas, 25 x 35 inches (Tate Britain, London) Speakers: Dr. Beth Harris, Dr. Steven Zucker
29. John Roddam Spencer Stanhope, Thoughts of the Past
John Roddam Spencer Stanhope, Thoughts of the Past, exhibited 1859, oil on canvas, 864 x 508 mm (Tate Britain, London)
31. Burne-Jones, The Golden Stairs
Sir Edward Coley Burne-Jones, The Golden Stairs, 1880, oil on canvas 2692 x 1168 mm (Tate Britain, London)
33. Burne-Jones, King Cophetua and the Beggar Maid
Edward Burne-Jones, King Cophetua and the Beggar Maid, oil on canvas, 1884 (Tate Britain, London) Speakers: Dr. Beth Harris, Dr. Steven Zucker
36. Burne-Jones, Hope
Sir Edward Coley Burne-Jones, Hope, 1896, 179 x 63.5 cm, oil on canvas (Museum of Fine Arts, Boston)
39. William Butterfield, All Saints, Margaret Street
All Saints Church, 7 Margaret Street, London Architect: William Butterfield Primary patrons: Alexander Beresford Hope and Henry Tritton Designed 1849 Cornerstone laid by Edward Bouverie Pusey, 1850 Consecrated 1859 Speakers: Dr. Ayla Lepine and Dr. Steven Zucker William Butterfield had little more than 100 square feet of real estate, but designed perhaps the greatest example of High Victorian Gothic architecture. The spire soars 227 feet above London and its interior is a kaleidoscope of color and pattern that expresses the vision of the Oxford Movement and the Ecclesiological Society. In 1841, the Society announced its intentions for their model church: It must be in a Gothic Style. It must be built of solid materials. Its ornament should decorate its construction. Its artist should be 'a single pious and laborious artist alone, pondering deeply over his duty to do his best for the service of God's Holy Religion'. Above all the church must be built so that the 'Rubricks and Canons of the Church of England may be Consistently observed, and the Sacraments rubrically and decently administered’.