The harmony of the willow-green, darkened with rain and closing day, of the shadowed white of the dress, the black prow, and the grey light afloat on the water, has the cool open-air unity of French naturalism. Gold and rose of the embroidered web, dipping unheeded into the green shadow of the boat, the candles, taken from the inner quiet air of some shrine to burn failingly in the drift, are imagery that paint more than the vision in the poem ... It is art which for its appreciation needs at least a capacity for realising the alliance between our thought and the romantic vision gathered in literature from Homer to Tennyson.
R.E.D. Sketchley, from Art Journal in 1909,
on John William Waterhouse's Lady of Shalott.
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