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"VERONICA VERONESE": DANTE GABRIEL ROSSETTI AND THE PERSONALIZATION OF PICTORIAL SYMBOLISM

a spate of attacks and counterattacks that created a tempest in the teapot of Victorian periodical criticism. In the midst of the storm, Rossetti's health declined; he con tinued, however, to paint, completing the Veronica Veronese (Fig. 1) in early March 1872. Presumably begun in January of the same year,2 only weeks after Rossetti's reply to Buchanan was published in The Athenaeum, this picture of a woman with a violin is notable not merely for the aston ishing and uncharacteristic speed with which it was produced, but also for the sig David D. Nolta