
INTRODUCTORY NOTE
BOHEMIA PAST AND PRESENT
SOME MEMORIES OF MILLAIS
AT HOME WITH ALMA-TADEMA
WITH ROSSETTI IN CHEYNE WALK
EDWARD BURNE-JONES
JAMES M‘NEIL WHISTLER
THE ENGLISH SCHOOL OF PAINTING AT THE ROMAN EXHIBITION
WITH GEORGE MEREDITH ON BOX HILL
THE LEGEND OF PARSIFAL
A lively collage of essays transports listeners back to the bustling world of late‑Victorian art and theatre. Written by a seasoned critic who first penned reviews while still a law student, the pieces blend personal recollections with sharp observations of painters such as Burne‑Jones, Millais and Whistler, and theatrical figures like Sir Henry Irving. The voice is candid and often humor‑tinged, offering snapshots of gallery openings, rehearsal rooms, and the informal gatherings that defined the era’s creative circles.
Beyond the anecdotes, the collection reflects on how the notion of “Bohemia” has shifted as society embraced art in new ways. The narrator debates the restless mantra that art must never repeat itself, suggesting that periods of quiet are as essential as bursts of innovation. Listeners will feel the texture of a bygone cultural landscape while hearing a thoughtful meditation on the ebb and flow of artistic life.
Language
en
Duration
~6 hours (361K characters)
Publisher of text edition
Project Gutenberg
Credits
David E. Brown, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
Release date
2021-11-28
Rights
Public domain in the USA.

1849–1916
A lively force in late Victorian culture, he moved easily between art criticism, editing, and the stage. He is best remembered for championing the Pre-Raphaelites and for writing the libretto for the romantic opera The King’s Way—though his biggest theatrical success was King Arthur, created with Arthur Sullivan.
View all books
by J. Comyns (Joseph Comyns) Carr

by Henry Adams

by J. Hector St. John de Crèvecoeur

by Dallas Lore Sharp

by Clive Bell

by Guido Gozzano

by Mary Astell