... “Man is parcelled out in men To-day; because, for any wrongful blow, No man not stricken asks, ‘I would be told Why thou dost strike’; but his heart whispers then, ‘_He is he, I am I._’” Such words are but the reiteration of that moral collectivism, that principle that “soul must somehow pay for soul,” which Rossetti maintains unbrokenly as an assumption needing neither emphasis nor reserve. The problem which his work leaves to the next generation lies in the application of that principle to social and national ideals. The task of the twentieth century will be to do for society what Rossetti has done for art,—to restore to it the dignity and glory of a free life, embracing all that nature has to give, under the dominion of associated reason, and conscience, and will. And when Rossetti’s genius shall have fulfilled its share in that unification of all knowledge to which the paths of science and poetry, art and scholarship, tend alike in the progress of time, England and Italy may join in worthier recognition of his life-work, whose face was set towards the final triumph of humanity— the reconciliation of the physical with the spiritual world. ----- Footnote 15: F.W.H. Myers, “Essays: Modern.” THE END. INDEX. Academy, The Royal, 33, 74-75, 80-81, 108, 122, 126-128, 161. Academy Schools, 23, 27-31. Academicians of last generation, 33. “Adam and Eve,” 34. “Alastor,” 108. Albert Gallery, Edinburgh, 118. Allingham, William, 136. “Anniversary of the Death of Beatrice,” 118, 255. “Annunciation, The,” 204-205. Anthony, Mark, 87, 128-129. “April Love,” 125. “Art and Poetry,” 72. “Arthur conveyed to Avalon,” 143. Art Union, The, 129. Arundel Club, The, 117. “Astarte Syriaca,” or “Venus Astarte,” 59, 184-185, 189. “Aurelia, or Fazio’s Mistress,” 117, 157. Australia, 108. “Autumn Leaves,” 121, 127, 229. “Awakening Conscience, The,” 149, 224, 236, 239.