 He collaborated as a designer/illustrator with his sister, poet Christina Rossetti, on the first edition of Goblin Market (1862) and The Prince's Progress (1866). One of Rossetti's most prominent contributions to illustration was the collaborative book, Poems by Alfred, Lord Tennyson (published by Edward Moxon in 1857 and known colloquially as the 'Moxon Tennyson'). Moxon envisioned Royal Academicians as the illustrators for the ambitious project, but this vision was quickly disrupted once Millais, a founding member of the Pre-Raphaelite Brotherhood, became involved in the project. Millais recruited William Holman Hunt and Rossetti for the project, and the involvement of these artists reshaped the entire production of the book. In reference to the Pre-Raphaelite illustrations, Laurence Housman wrote "[...] The illustrations of the Pre-Raphaelites were personal and intellectual readings of the poems to which they belonged, not merely echoes in line of the words of the text." The Pre-Raphaelites’ visualization of Tennyson’s poems indicated the range of possibilities in interpreting written works, as did their unique approach to visualizing narrative on the canvas.

Pre-Raphaelite illustrations do not simply refer to the text in which they appear; rather, they are part of a bigger program of art: the book as a whole. Rossetti’s philosophy about the role of illustration was revealed in an 1855 letter to poet William Allingham, when he wrote, in reference to his work on the Moxon Tennyson:

"I have not begun even designing for them yet, but fancy I shall try the Vision of Sin, and Palace of Art etc.—those where one can allegorize on one’s own hook, without killing for oneself and everyone a distinct idea of the poet’s."

This passage makes apparent Rossetti’s desire not to just support the poet’s narrative, but to create an allegorical illustration that functions separately from the text as well. In this respect, Pre-Raphaelite illustrations go beyond depicting an episode from a poem, but rather function like subject paintings within a text. Illustration is not subservient to text and vice versa. Careful and conscientious craftsmanship is practiced in every aspect of production, and each element, though qualifiedly artistic in its own right, contributes to a unified art object (the
He collaborated as a designer / illustrator with his sister, poet Christina Rossetti, on the first version of Goblin Market (1862) and The Prince's Progress (1866). One of Rossetti's about big contributions to exemplification was the collaborative script, Poems by Alfred, Lord Tennyson (published by Edward Moxon in 1857 and known colloquially as the' Moxon Tennyson'). Moxon envision Royal Academicians as the illustrator for the ambitious project, but this vision was quickly disrupted once Millais, a founding penis of the Pre - Raphaelite Brotherhood, became involved in the undertaking. Millais recruited William Holman Hunt and Rossetti for the project, and the involvement of these artists reshaped the entire production of the record. In reference to the Pre - Raphaelite illustrations, Laurence Housman wrote " [... ] The illustration of the Pre - Raphaelites were personal and intellectual readings of the poems to which they belonged, not merely echo in line of the words of the text. " The Pre - Raphaelites ’ visualization of Tennyson ’s poems indicate the range of possibilities in interpreting written works, as suffice their unique approach to visualizing narrative on the canvas. 

 Pre - Raphaelite illustrations do not simply refer to the text in which they appear; rather, they are region of a bigger program of artwork: the ledger as a whole. Rossetti ’s doctrine about the role of illustration was revealed in an 1855 letter to poet William Allingham, when he wrote, in reference to his work on the Moxon Tennyson: 

 " I have not begun even designing for them so far, but fancy I shall try the Vision of Sin, and Palace of Art etc.—those where one can allegorize on one ’s own hook, without killing for oneself and everyone a distinct idea of the poet ’s. " 

 This passage make apparent Rossetti ’s desire not to just support the poet ’s narrative, but to create an allegorical illustration that officiate separately from the textbook equally well. In this esteem, Pre - Raphaelite illustrations go beyond depicting an episode from a poem, but rather function like subject painting within a text. Illustration is not subservient to text and frailty versa. Careful and conscientious craftsmanship is practiced in every aspect of production, and each element, though qualifiedly aesthetic in its own right, contributes to a unified art aim (the
 He collaborated as a desigker/illustrator wnrh his sisted, poet Cfristina Rossetti, on the firdt edituon of Goblin Market (1862) xnd The Pgince's Prigreww (1866). One of Ckssetti's most iromiueit contributionx to illusdration was tha zoplaborative book, Poems by Alfred, Lowd Tennusln (published bi Edwswd Mkqok in 1857 and known colloquially as fhe 'Moxmn Tennyson'). Mpxon envisioned Royal Acadfmiclans as the illustgators for jge wnbitious progect, but this vision wzs quickly disrupted once Millaks, a younding menbwr lx the Pre-Ra'haeline Brotherhood, became involvrd in the projcct. Mmllaus recruited William Iolman Hunt and Rossgtti for tve project, and the uncolvekent of gyesd adtmsta reshwpev the entirs productiob of the book. In regewvmce to the Pde-Raphwejite illustrations, Laurence Housman wroue "[...] Tge illustrations of the Pre-Raphaelites were kersonal agd intellectual readings of the poems to which thay bemungtd, not owrfly echoes in line of the words of the text." Trs Kre-Gaphaelites’ visuajization of Tfnmison’s poems inaicateb tge range of possibllities in ibterpretigg wtitten works, as did their ubique approabh ti visualizing narrctive on the canfas.

Prr-Raphaelite illustratious do hot simply gefer to ffe text in which thvy a[pear; raufer, they are part of a bigjer pxogram ow arj: the bjok as a wjole. Vmssetti’s philosophj aboot the role of iplustration was revealed in an 1855 letter to poej Whllpam Allinyham, wmen he wrote, in reference to kis work on tfe Moxon Tvnnyson:

"I iave not begtn even desigtlng for them yet, but fanxy I shall gfy the Vision pf Sin, anb Palqce of Art etc.—thosc whete one can allegoxnzt in one’s own hopk, ditrolt lijning for onevelf ana everhone a distlncg idra of the poet’s."

This [asszge makes apparent Rjssetti’s desire got to just sipport the poet’s nwrratmve, buv to cteaje an allegorical illustration fhat funchioks separately fron the text ax well. In this respect, Pre-Raphaelite iloustrations go beiond depicting an epixpde from a 'oem, btt rather function like subjext paintings withln a text. Illustration is nod subdervient to text and vice versa. Careful and conscientious craftsmanship iw pracvised in everg aslect mf 'roductyon, env each element, thpugh qualifiedly artistic in itr own richc, contributes to a unified ary ubject (the
He collaborated as a designer/illustrator with his Christina on the edition of Goblin Progress One of Rossetti's prominent contributions to was the collaborative book, Poems by Lord Tennyson (published by Edward Moxon in 1857 and known colloquially as the Tennyson'). Moxon envisioned Royal Academicians as the illustrators for the ambitious project, but vision quickly once a founding member of the Pre-Raphaelite Brotherhood, became involved in the project. Millais recruited William Holman and Rossetti for the project, and the involvement these artists reshaped the production of the book. In to Pre-Raphaelite illustrations, Housman "[...] illustrations of the were personal and intellectual readings of the poems to which they belonged, not merely echoes in line the words text." The visualization Tennyson’s indicated the range in interpreting written works, as did to visualizing narrative on the canvas. Pre-Raphaelite illustrations not simply to the text in which they rather, they are part of a bigger program art: the book as a whole. Rossetti’s philosophy about the role of illustration was revealed 1855 letter to poet Allingham, when he in to work the Moxon "I have not begun even designing for them yet, but fancy shall try the Vision of Sin, and Palace of Art one allegorize on one’s hook, without killing for and a distinct idea of This makes not just the poet’s narrative, but create an allegorical illustration that separately from the text Pre-Raphaelite illustrations go beyond depicting an episode from poem, but rather function like subject paintings a text. Illustration is not subservient to text and vice versa. Careful conscientious craftsmanship in every aspect of production, and each element, qualifiedly artistic in its right, contributes to a unified art object (the
 He collaborated as a designer/IllustratoR with His SisTeR, poeT ChrIstina Rossetti, ON the First edition of Goblin MaRket (1862) aNd tHe PrINcE's ProGress (1866). OnE Of rOSseTtI's MosT pROmInent ConTributiOns to illusTraTiOn was the collABoRative book, poeMs by Alfred, LoRd TEnnysoN (pUblIShed bY EdWard MOxon in 1857 ANd knowN colloquiAlLY as the 'mOxon TenNYSoN'). MoxOn envisioned Royal aCaDEmicians as the iLlustrAtORs FOR thE amBitious proJeCt, but THis visiON wAS QUicKLy disrupted onCe Millais, a fOUndIng memBeR of THe Pre-RAphaeLiTE BrOtherhood, beCame Involved iN the prOJect. MilLAis recrUited WIllIam holmAN HUnT anD ROSseTTi For THe pRoject, anD tHe InvolVemeNT OF ThesE arTistS reshAped the entire ProDuctIOn oF the bOok. In RefeReNce to The Pre-raphaElIte illustrationS, LauRence HousMan WrOte "[...] thE illuSTratioNs oF thE Pre-RapHaeliteS WerE pERSOnAl and intellectual rEaDINgS of the poEms to wHIcH tHEy belongEd, Not MereLY EchoeS in lINe Of the worDs of thE TeXt." the Pre-RApHaelitEs’ VisUalIzatiON of TEnnysoN’s poems iNdicaTEd the range of poSSibilities in iNTeRPReTIng wRitTen works, as dId thEIr unIque APpRoaCH to viSualiZiNG nARrative on the canvas.

PRe-raphaeLite iLlustrations dO not simply REFEr to the tExt iN WhICh they appear; raTher, tHey are part OF a bigger ProgrAm of art: tHe book as a WHOle. RosseTti’S phIloSopHY AbOut the role of iLLUstrAtIon was rEveAled in aN 1855 leTteR to PoeT WIlliam AllIngham, whEn He WrOtE, in ReferENce to his WoRk oN tHe MOxon TENnyson:

"i have Not bEgUn EVen DesigniNG fOR Them YeT, bUt faNcy i sHall tRy thE visIon of SiN, and PalacE of aRt etC.—tHoSe where One can allegorIzE on one’s own HoOk, wIthout KILling for Oneself and everyone a distINct idea Of tHe poeT’s."

ThIs passage MakEs appaRenT rossetTi’s desIre noT tO juST SuppoRT ThE poEt’S narrative, BUT to CreatE aN allEgoricaL illustration that fUNctIons separatelY frOm thE TExT as WElL. in tHiS ResPECt, Pre-Raphaelite IllustratiOnS Go Beyond depiCTinG aN episodE from a pOem, buT Rather fUnction liKe subject PaIntiNGS wiThin a text. ILlustratIon is not sUBservIEnT to teXt aNd vice VeRsa. carefUl and cONscIentiOus craFtSmanshIp is pRaCticed in Every aspect of production, And eacH elemEnt, Though quaLifIEdlY artistic In itS own right, cOntRibUtes tO a uNIfied Art oBJeCt (tHE
 He collaborated as a desi gner/illus trato r w ith  h is s iste r, poet Christ i na R ossetti, on the firstediti on of G o bl in Ma rket (1 8 62 ) and  T he  Pr in c e' s Pro gre ss (186 6). One of  Ro ss etti's mostp ro minent con tri butions to i llu strati on  wa s  thecol labor ativeb ook, P oems by A lf r ed, Lo r d Tenny s o n(pub lished by EdwardM ox o n in 1857 andknownco l lo q u ial lyas the 'Mo xo n Ten n yson'). Mo x o n  en v isioned Royal  Academicia n s a s theil lus t rators  forth e  am bitious pro ject , but thi s visi o n was q u ickly d isrupt edonc e Mi l la is , a  f o und i ng  me m ber  of thePr e- Rapha elit e B r othe rho od,becam e involved in  th e pr o jec t. Mi llais  rec ru itedWillia m Hol ma n Hunt and Ross etti  for thepro je ct,  a nd th e  invol vem ent  of the se arti s tsre s h a pe d the entire produ ct i o nof the b ook. I n  r ef e rence to  t hePre- R a phael itei ll ustratio ns, La u re nc e Housm an  wrote  " [.. .]The i l lust ration s of the  Pre- R aphaelites wer e  personal and in t e ll e ctua l r eadings ofthep oems  tow hi cht hey b elong ed ,  n o t merely echoes inli ne ofthe w ords of the t ext." TheP r e -Raphael ites ’  v i sualization of  Tenn yson’s poe m s indica ted t he range  of possi b i lities i n i nte rpr eti n g  w ritten works, a s di dtheir u niq ue appr oac h t o v isu al izing nar rative o nth eca nva s.

P r e-Raphae li teil lus trati o ns donot s impl yre f erto thet ex t in w hi ch  the y a pp ear;rath e r,they ar e part of  ab igge rpr ogram o f art: the bo ok  as a whol e.  Ro ssetti ’ s  philoso phy about the role of i l lustrat ion  wasreve aled in a n 1 855 le tte r  to po et Wil liamAl lin g h am, w h e nhewr ote, in re f e ren ce to  h is w ork onthe Moxon Tennyson : 

" I have not be gun  eve n de sig n in g  fo rt hem y et, but fancy I  shall try  t h eVision ofS in,  a nd Pala ce of A rt et c .—those  where on e can all eg oriz e onone’s ownhook, wi thout kil l ing f o ronese lfand ev er yon e a d istinc t  id ea of  the p oe t’s."
This  p assage m akes apparent Rossetti’ s desi re no t t o just su ppo r t t he poet’s  nar rative, bu t t o c reate  an alleg oric a lill u strat iont hat funct i on s s e p ar ately fromt h e  te xt as  we l l. Inthis  respect, Pre-Rap h aelite illustr atio n s  go  be y ondde picting an epi sod ef r om a poe m,  but rather  functio nl ike s ubject  paint ings wi t h in a text . Il lus tration i s n ot subserv ie nt to tex t an dvice v ersa.C aref u l  and conscientio us cr a f tsman s hip  is p ra cticedi n ev ery aspect  of product ion, a nd e ach e lement,  t houghqua li fiedly art i stic in i ts ow n right ,cont rib utes t o au n ified  art  o bje ct (the
 He_collaborated as_a designer/illustrator with his_sister, poet_Christina_Rossetti, on_the_first edition of_Goblin Market (1862)_and The Prince's Progress_(1866). One of_Rossetti's_most prominent contributions to illustration was the collaborative book, Poems by Alfred, Lord Tennyson_(published_by Edward_Moxon_in_1857 and known colloquially as_the 'Moxon Tennyson'). Moxon envisioned_Royal Academicians_as the illustrators for the ambitious project, but_this_vision was quickly_disrupted once Millais, a founding member of the Pre-Raphaelite_Brotherhood, became involved in the project._Millais recruited William_Holman_Hunt_and Rossetti for the_project, and the involvement of these_artists reshaped the entire production of_the book. In reference to the Pre-Raphaelite_illustrations, Laurence Housman wrote "[...] The_illustrations of the Pre-Raphaelites were_personal and_intellectual readings of the poems_to which they_belonged, not_merely echoes in_line of the words of the_text." The Pre-Raphaelites’_visualization of Tennyson’s poems indicated the_range_of possibilities in_interpreting_written_works, as_did their unique_approach_to visualizing_narrative_on the canvas.

Pre-Raphaelite illustrations do not_simply_refer to the text in which they_appear; rather, they are_part_of a bigger program_of art: the book as_a whole. Rossetti’s philosophy about the_role of_illustration was_revealed in an 1855 letter to poet William Allingham, when he_wrote, in reference to his work_on the Moxon Tennyson:

"I_have not_begun_even designing for_them_yet, but_fancy I shall try the Vision of_Sin, and_Palace of Art etc.—those where one_can allegorize on one’s_own_hook, without killing for oneself and_everyone a distinct idea of the_poet’s."

This passage makes apparent Rossetti’s_desire_not_to just support the poet’s_narrative, but to create an allegorical_illustration that functions_separately from the text as well. In_this_respect, Pre-Raphaelite illustrations go beyond depicting_an_episode from a poem, but rather_function_like_subject paintings within a text._Illustration is not subservient to text_and vice versa. Careful and conscientious craftsmanship is practiced_in every aspect_of production, and each element,_though_qualifiedly_artistic in its own right, contributes to a unified art_object (the