INTRODUCTORY MEMOIR
He went on to tell of his admirations, Rossetti coming first for him among modern artists. He had seen very little of early Italian art, but divined that theirs was the type of art which he thought the only kind worth having—"expression through passionate colour and definite design"—not "a moment frozen on to canvas," but "the spontaneity of un-selfconscious and childlike nature—infinity of suggestion—that is as much part and voice of the artist's soul as the song to the bird." As to modern poets, they were "difficult to get hold of" (their volumes being expensive), but he had an immense admiration for Francis Thompson—"that is the sort of poetry that appeals most to me." He had done nothing yet in painting which he would care to show. He aspired to do imaginative work, but at present was practising portraiture, as it was necessary to earn a living.
At my invitation Rosenberg came to see me. Small in stature, dark, bright-eyed, thoroughly Jewish in type, he seemed a boy with an unusual mixture of self-reliance and modesty. Indeed, no one could have had a more independent nature. Obviously sensitive, he was not touchy or aggressive. Possessed of vivid enthusiasms, he was shy in speech. One found in talk how strangely little
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