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#caligula #mansfieldpark #poldark https://www.youtube.com/channel/UC5domZkB-eRa6BuFOO8OXaQ. https://dailymotion.com/bethfreed25
Starving Victorian artists call themselves the Pre-Raphaelite Brotherhood secure the modeling services of Lizzie Siddal with her long auburn tresses and another redhead, barmaid Annie Miller to be their muses and launch careers.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Starving Victorian artists call themselves the Pre-Raphaelite Brotherhood secure the modeling services of Lizzie Siddal with her long auburn tresses and another redhead, barmaid Annie Miller to be their muses and launch careers.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Category
🎥
Short filmTranscript
00:20This was the happiest day of my life.
00:23Here I was, me, Fred Walters,
00:26a close acquaintance of the three most radical and celebrated painters of their generation,
00:32the Pre-Raphaelite Brotherhood.
00:35It wasn't always like this.
00:37There was a time when they weren't considered fashionable.
00:41They weren't considered popular.
00:43They weren't even considered.
00:46But in spite of their faults, of which there were some,
00:49I always believed in them.
00:53Their enigmatic leader, Dante Gabriel Rossetti,
00:58a man whose full potential was often on the losing side
01:01in its battle with that other interest of the committed artist,
01:05the pursuit of beauty.
01:07John Millet, an artist whose modesty was the equal of his genius.
01:13And William Holman Hunt, he was a bit complicated.
01:18But of course, an artist is nothing at all without a subject,
01:22a model, a muse.
01:25First, they would have to find her.
01:35THE END
02:02Let me show you.
02:08Let's go.
02:09Can I help you, madam?
02:11Ah, yes.
02:13No, I like this very much.
02:14This is exactly the sort of thing.
02:28Friend.
02:30Friend!
02:31Oh, I'm sorry, sir.
02:51Let's go.
02:52Just, just too slightly.
02:55This one.
02:57Here.
03:04No.
03:08No.
03:14No.
03:17No.
03:20No.
03:21Mr. Lynde can be woman or man.
03:24She has a most cheerful disposition.
03:27I think the problem with your girls is that they are too beautiful.
03:30We're looking for something more, more ordinary.
03:33There's a hunchback.
03:35Works out of Marlebone Station.
03:37She's very much on the ordinary side.
03:42Mr. Rossetti.
03:44Hunt.
03:45Millet.
03:46I think they have found exactly what you're looking for.
03:49What are you talking about?
03:50I took the liberty of searching, on your behalf, for the perfect young lady.
03:55Shut up and answer me this.
03:58Is she a redhead?
04:00Hair like molten lava.
04:04She has to be both ordinary and extraordinary.
04:07I think you've found she's all of those things.
04:09When I was at the academy, I had the pick of models, but now I can never seem to hang
04:12on to them.
04:13Vanity.
04:14All the promise of better money always drives them away.
04:17Which brothel did she say she worked out?
04:19I didn't.
04:21She works down there, at the back of a hat shop.
04:26Have you any idea how important it is for us to find the perfect model, and you drag us to
04:31meet a hat shop girl?
04:32I promise you, you have to see her.
04:34They like the idea of modelling, but when it comes to posing, they simper like spaniels in heat.
04:46What's in this for you?
04:50I just want to help you in your mission.
04:53I believe in your values, to sympathise with what is true and serious and heartfelt in previous art.
05:00You like that, do you?
05:02I wrote that, you know.
05:04I know, Mr Rossetti.
05:06I know.
05:07I'm Gabriel.
05:08Call me Gabriel.
05:25You're right.
05:27She is truly spectacular.
05:30She's perfect for my soul, here.
05:32I'll speak to her straight away.
05:33Not you, Maniac.
05:36She should be approached by one who carries no sexual threat whatsoever.
05:45Well, go on, Fred.
05:47Ask if she were among us.
05:58Excuse me.
05:59Excuse me.
06:02This is going to sound strange.
06:04It already does.
06:07These gentlemen here are the Pre-Raphaelite Brotherhood.
06:10Really? The Pre-Raphaelite Brotherhood?
06:13So you have heard of them?
06:14No.
06:15No.
06:16They are looking for models, just like you.
06:20Does my sister look like the Kanda girl who would be a model?
06:23They mean to paint girls living ordinary lives,
06:25which makes their beauty all the more striking.
06:28I'm sorry. I'm afraid that my mother would never allow it.
06:32She has my personal guarantee that your virtue and your reputation will remain intact throughout any professional engagement.
06:38I'm not sure my mother would be reassured by a young man's promises.
06:41What about the word of my mother?
06:48Your mother?
06:49What did you say that for, Mr. Waters?
06:51I thought I was inspired for it.
06:54Well, I hope a shop girl doesn't need my mother to vouch for my reputation.
06:57The entire world knows you're no threat to the ladies, John.
07:04Where does an artist start if he is to change the world?
07:08At the centre of that world, the Royal Academy.
07:11Hunt and Millet had already been accepted for its exhibition.
07:15Adoration and celebration of their radical style was sure to follow.
07:20I don't believe this.
07:24What a regal cheek!
07:28Who did this?
07:29Hey!
07:30Who committed this intolerable act with you?
07:32Give me your voice down!
07:33Hold on!
07:34Something troubling you, John?
07:35We were just a little concerned about the position of our paintings.
07:40What appears to be the problem?
07:42The problem isn't so much that you put the work of these two men of genius so, so far above
07:50the line that you would need a ladder to see them.
07:52It is what you put on the line.
07:55On the line, Mr. Stone.
07:57I mean, look at this.
07:59I've seen stains on a chamber pot with more artistic merit.
08:03If you don't like the paintings of Mr. Hunt and Mr. Millet hanging above the line, then there is a
08:09solution.
08:09Good. Glad to hear it.
08:11We'll take them down altogether.
08:13Mr. Cooper, please bring a ladder.
08:15Let's not be too hasty here, Mr. Stone.
08:16Mr. Millet, when you came to us as an 11-year-old, I could see you were destined for great
08:21things.
08:22But by aligning yourself with a bunch of pavement artists, you aroused the Academy's utter disgust.
08:29The Academy's utter disgust is what gets us all out of bed in the morning.
08:32Well, I wouldn't go that far.
08:33Where is the naturalism?
08:35Where is the life?
08:37The flesh?
08:38The blood?
08:39The nature?
08:41Mr. Rossetti, I have one piece of advice to you.
08:45Learn to paint.
08:48Mr. Hunt and Mr. Millet, I have one piece of advice for you.
08:53Lose the idiot.
08:54We are a brotherhood, Mr. Stone.
08:57We will never desert each other.
09:00You just remember who we are.
09:02You just remember who we are.
09:18Mr. Ruskin, it's an honour to meet you.
09:29I have read all your books.
09:33Not always to the end, admittedly, but, well, you know, enough to get the gist.
09:41I give you John Millet, child prodigy, on the verge of puberty.
09:47William Hellman Hunt, painter, pugilist.
09:50And myself.
09:51Dante, Gabriel Rossetti.
09:54Artist, poet, half Italian, half mad.
10:00I enjoyed your Isabella, Mr. Millet.
10:04Oh.
10:06Well, thank you.
10:20Why didn't you offer him the painting right there and there?
10:23I sold it 12 months ago.
10:25Before I joined the Brotherhood and people still bought my work.
10:28So sell it again.
10:30I once sold a sketch 14 times over and it's still in my wardrobe.
10:34Well, I hardly think I can go and remove it from my buyer's wall.
10:38If John Ruskin says he likes your painting, then you offer him that painting.
10:44And then the next one and the one after that.
10:47And then ours.
10:49John Ruskin says yes and the world of art follows.
10:51That's a perfect plan, Gabriel.
10:53Spoiled by one tiny detail, we've yet to secure the services of the Hatshot Stunner.
10:57Our good friend Fred here is going to take his mother to vouch for us.
11:01We can hardly split her three ways, can we?
11:03I think you'll find I have the first pick of all redheads.
11:05I have the exact painting I need her for.
11:08I'm sure my need is greater.
11:09But her eyes met.
11:10There was an instant connection.
11:12That hardly gives you any claim on her.
11:14She models for me.
11:15I need an angel.
11:17She models for me.
11:34Um, uh, bread, mutton stew and, uh, a little leftover cheese, perhaps.
11:40Landlord says to Stan, you know more credit.
11:42Oh, tell him I'm paid to my portrait.
11:43You did him one already.
11:45And he said the arms were all wrong.
11:48I think his sense of perspective is much compromised by gin.
11:56Would you consider sitting for me?
11:59Me?
12:01A model?
12:03I don't think so.
12:05If I could just capture that.
12:08The pulse that flutters just...
12:12It's just there.
12:18Not in stew, was it?
12:21And a little cheese.
12:23If the mice can spare it.
12:30Ah, Mr. Rossetti.
12:33Where is my painting?
12:34I'm working day and night, sir, but...
12:37You either pay me back the money you owe me,
12:39or deliver the picture in one week's time.
12:41Yes, yes, yes, of course.
12:43Of course.
12:48Oh.
12:49There we go.
12:51Smoothed it over with my patron.
12:53Got myself a model.
12:55I'll have a masterpiece in three weeks.
12:57A masterpiece with no gallery to hang in.
12:59Oh, it will have a gallery.
13:01Don't you worry about that, Johnny boy.
13:03Where?
13:04No gallery will take us as long as the Academy hates us.
13:07But we have John Ruskin.
13:08Barely acknowledged us.
13:09We've met.
13:11How can he possibly refuse an invitation to see more of our work?
13:14How do you propose to get him to do that?
13:16We invite him to our exhibition.
13:19What exhibition?
13:20Perhaps I could help to publicise such an exhibition.
13:23I do have one or two well-connected friends.
13:26There we are.
13:27Fred is going to advertise it, so that is settled.
13:30So, such an exhibition does not really exist unless Mr Ruskin becomes involved.
13:35But he has not yet agreed to his involvement.
13:38That, my friend, is the beauty of the plan.
13:41This is it.
13:42This is Ruskin's house.
13:44This one.
13:45Definitely.
13:47Come on.
13:50Come on.
13:51I've got it.
14:19Now all we need is a model.
14:20I've got it.
14:34I've got it.
16:17They needed me. And I, I needed my mother.
20:24Oh, if you would like to kneel down here, Miss Siddle.
20:33Perhaps this cushion will make you more comfortable, Miss Siddle.
20:37And the position is quite respectable, given its historical accuracy.
20:41Since Sylvia's a character from Shakespeare, how exactly is it historically accurate?
20:45Miss Siddle, you've been posing for me now for less than two minutes.
20:48And in that time, you have spoken more than my last model spoke in six months.
20:54And what was she wearing?
20:56She wasn't. It was a nude study.
21:03I've been evicted.
21:06Unbelievable.
21:07A misunderstanding.
21:09I over-rent.
21:10And the brutal landlord has sent me packing.
21:13Evicted?
21:15My God, what are you going to do?
21:17Nothing I can do.
21:18No tin.
21:20I must have moved back in here.
21:21No.
21:24You remember Miss Siddle, my new model?
21:27Our new model?
21:29She's posing for my new piece based on the last scene of the two gentlemen of Verona.
21:33It's a tale of morality overcoming sexual urgings.
21:38A tale so frequent in art, but so rare in real life.
21:43Hey, Miss Siddle?
21:44Please, Gabriel.
21:45You do realise it is your destiny to sit for me, don't you?
21:48A shop girl can't afford to believe in destiny, Mr. Rossetti.
21:59There were many advantages to hanging out with the glamour boys, but perhaps the greatest
22:04advantage of all was that sometimes a girl wasn't impressed by all that wit and bluster,
22:09and might even find herself wanting the quiet one in the corner, the steady type.
22:17And I was as steady as they came.
22:32Mr. Waters, I can only thank you.
22:36This Siddle is a wonderful discovery.
22:39I have great plans for her.
22:40She has a high-stake neck, does she not?
22:43And a lower lip sucked in as if it strives to kiss itself.
22:47Sucked in.
22:51I mean to raise her up from her humble beginnings, to educate her in the arts, and then, eventually,
23:02to make her my wife.
23:05Your wife?
23:05If there is anything more attractive than a working woman with potential, then God is
23:12yet to show it to me.
23:14I couldn't help seeing her potential peeping out through the gap where her fastenings didn't
23:18meet.
23:25Do you think Hunt meant it, about marrying Lizzie?
23:29Because, er, well, if the truth be known, I'm rather sweet on her myself.
23:36So the Pre-Raphaelite Brotherhood, the group of radical young painters who announce themselves
23:42by thrusting notes through letterboxes in the middle of the night.
23:46I apologise if we were a little overzealous.
23:48But there's no time to waste.
23:49The revolution is needed, which is why you must attend our exhibition, Mr. Ruskin.
23:54I'm sorry.
23:56If I attended every exhibition to which I was invited, I'd go insane.
24:08Mr. Waters, no more interfering.
24:11No, no, no, no.
24:12Let him go.
24:22The young artists of England should go to nature in all singleness of heart, and walk
24:28with her laboriously and trustingly, having no other thought but how best to penetrate
24:34her meaning, rejecting nothing, selecting nothing, and scorning nothing.
24:43Your words, sir.
24:44I'm aware they're my words.
24:45You could be describing these very artists, men who are committed like you, to what is
24:53true, and real, and heartfelt.
25:01Very well, then.
25:01I shall visit your studio and see your work in progress, and if it lives up to your manifesto,
25:06I shall attend your exhibition, and if it does not, will you, please leave me alone.
25:12It's a promise, sir.
25:13Although the work will be good, sir.
25:16Very well.
25:17Next week, then, Friday?
25:19That will be perfect, sir.
25:33Fred, Fred, Fred, Fred, I thought you were a little more than a hanger-on.
25:35We need to make you an honorary brother immediately.
25:38Really, really, sweetly done, Fred.
25:38I could kiss you.
25:40I don't know why you arranged it so soon.
25:42You know it takes me a week to sharpen a pencil.
25:44Ha, ha, ha!
25:47Woof!
26:57If you don't object, I was going to make a few notes.
27:01I mean to record your views from the story.
27:06We have to find the perfect model.
27:08Hence the lack of face and hair on the Virgin Mary.
27:13And the lack of paint.
27:18Perhaps you're afraid of oils.
27:19No, no, no.
27:20I am in fact working in oils on something brand new.
27:24It's about a fallen woman.
27:26Well, there's possibly no greater subject than the fallen woman.
27:37There's a beauty of extreme minuteness and precision here.
27:44John.
27:47I was worried it might be a little too real.
27:51Beauty deprived of its proper foils and adjuncts will cease to be enjoyed as beauty.
27:57Wasn't I saying that very thing just this morning?
28:00I must have missed that.
28:08The model.
28:09She's new.
28:11Her name is Miss Siddle.
28:12I'm painting her next.
28:13Common feature, sluttish type.
28:16Sluttish?
28:19Do you think so?
28:20Surely that's the composition.
28:22Pipe down for it.
28:26So you think Sylvia's face is unsuitable then?
28:30Well, you've painted a woman displaying sexual appetite and that is never attractive.
28:43So we'll see you at our exhibition then, Mr. Ruskin.
28:47I'm sorry.
28:49Perhaps another time.
29:07My parents have already paid for the haul.
29:11How will I break this to them?
29:13Well, she'll just have to cancel it.
29:15And press on with our ambitions.
29:17You have to go ahead with the exhibition because I have placed an article on your behalf.
29:24In the weekly dispatch.
29:27Page three.
29:31Unfortunately, I do mention that Ruskin will be there in support, but...
29:35You did what?
29:36Well, you all seem so confident he would like your work.
29:39As you were that Miss Siddle will be the perfect model.
29:41As she will be.
29:44I also wrote that in the article.
29:58I'm going to find a new model.
30:02I'm going to paint over Miss Siddle's face.
30:05And I'm going to beg Ruskin to give us a second chance.
30:07That's very sensible, maniac.
30:09Do Miss Siddle's feelings count for nothing?
30:11For a word of praise from Ruskin, I'd paint over my mother's face.
30:15What kind of revolutionary are you?
30:18A very hungry one.
30:19Now, try a shot of the best condolence for the collapse of ideals.
30:25Drink disagrees with me.
30:26Me too.
30:28But I enjoyed the argument.
30:30At least assure me that you will break the news to Miss Siddle with some regard for her feelings.
30:36What do you take me for?
30:38I'll handle it with gentleness and sensitivity.
31:26You're good enough to listen to me.
31:27Just cover yourself up.
31:29God.
31:32We have been married for five years.
31:36And in that time, you have kissed my shoulder four times,
31:39cupped my breast in your hand twice and once,
31:41nuzzled my neck and whimpered like a dog.
31:43I thought you understood that this marriage was based on mutual love,
31:47mutual respect and companionship.
31:49I need more.
31:51No woman needs more.
31:52You go quite against nature when you demand it.
31:58Please, tell me what I can do to help you overcome your fear.
32:02Please, tell me what it is you dream about.
32:06I am.
32:07You are, you are what?
32:09You are what, my love?
32:10I am very, very disappointed in you.
32:41I am very, very, very sad.
32:46Wasters I want to save you. Perhaps you could try lovey. Perhaps you could try
33:10Thought we could make an early start today
33:18You've got to be Lizzy
33:20I'm right aren't I?
33:23I recognise you straight away from the painting
33:25So you must know what he's doing then, eh?
33:28When he first told me he only wanted to paint me
33:30I thought, well I've never heard it called that before
33:33But he's been as good as his words
33:35Sketch, sketch, sketch all night
33:37Bit of Bible reading, not as much as half a penny's grope
33:41Mr. Hunt?
33:42Miss Siddle
33:45Er...
33:49I'm afraid there's a problem with your look
33:53Just for this particular work
33:54A problem that wasn't apparent until Mr. Ruskin viewed it
33:57No, but once he...
33:59Once he pointed it out
34:01Am I permitted to know the nature of this problem?
34:07Oh, Fred
34:08Miss Siddle, I...
34:09I tried to intercept you
34:10I think perhaps it would be courteous to offer me some explanation
34:14Mr. Ruskin considered you too slattish, love
34:18Is this true?
34:20I don't think he phrased himself quite so crudely, Miss Siddle, no
34:24So, why did you tell me you did then?
34:27Fred
34:28Is this true?
34:29Is this true?
34:37Oh, I'm sorry
34:45If this is true
34:45You're you're you're you're you're you're you're a human
34:46And you're you're you're you're turning me
35:14What do you think sounds better, Fred?
35:16Failed model or disgrace shop girl?
35:19You're not disgraced.
35:20It's not what my former employer just told me.
35:22She said I'd be a whore within the month.
35:24I will not let that happen.
35:27You're beautiful.
35:29And I will see to it that your beauty is shared with the world.
35:37There's a stroke of luck.
35:40You are a lifesaver.
35:44Could you spare the tin for a hot drink?
35:46No nourishment has passed my lips for days.
35:49It would be my pleasure.
35:50Oh, excellent.
35:52Um, a large pot of coffee and perhaps some bread and cheese, Violet?
35:58Now, Miss Siddle, shouldn't you be inspiring Hunt's salvation?
36:04He thinks I'm too whore-like.
36:06He didn't actually say that.
36:08He's dispensed on my services.
36:10Good.
36:12I'm leaving.
36:13The reason I said good was because I have wanted you to sit for me since I first laid eyes
36:20on you.
36:21Please do not humiliate me.
36:22I know you're the one.
36:24I know you are going to change everything.
36:29Look at you.
36:31I mean, look at you.
36:34Your high, stately neck and your lower lip sucked in as if it strives to kiss itself.
36:42And I think you're mocking me.
36:44Then why would I want you to sit for me?
36:52You could come back twice.
36:54In my naivety, I felt almost flattered that Rossetti had chosen my words to make the woman I loved feel
37:00better about herself.
37:03Perhaps next time I would summon up the courage to say what I really felt.
37:12Remember, you are a woman who is afraid, who is about to be ravished, who is an object of lust.
37:22What if I just popped a breast out or something? Nothing sorted?
37:25No, no, no.
37:28Lead us not into temptation.
37:30I meant just the one, just to make it clear what was on offer.
37:34I think that would be perfectly clear without you exposing yourself, Miss Miller.
38:01You know, Miss Miller, I think this is completely wrong for you.
38:04Well, it was a nice one, it looked.
38:05No, no, not the modelling.
38:08The subject matter, I think we should be painting something that tells me something of, of you.
38:13Of your life.
38:26Who on earth rented this out to you?
38:29The owners are away, so I'm looking after them.
38:33And they wanted you to stay here.
38:37Well, I'm sure they would if they knew me.
38:57What do you think, Miss Siddle?
38:58I'm not sure you're paying me for my opinion.
39:01So much the better.
39:03I can rely on your honesty.
39:09None of them are complete.
39:11And that is your only response?
39:14So you were looking to be flattered.
39:16Don't attack flattery.
39:17I think too many people have flattered you for too long.
39:23I think all this talk of your brilliant potential has turned your head and hold you back.
39:29Ah, but you do at least think I have potential.
39:33You and every rag and bone man in London.
39:36If you were this direct in the hat shop, it's a wonder you ever sell so much as a ribbon.
39:41I am always truthful.
39:42I'm sorry if you're not used to that.
39:45So tell me the truth.
39:48Why did you decide to sit for me?
39:50Because it seems I have no choice.
39:52Because my reputation is so damaged already by my brief modelling career
39:56that no respectable establishment would take me on.
40:00And because you feel at home?
40:03What do you mean?
40:04No, I saw your eyes the first time Fred Walters spoke to you inside that wretched hat shop.
40:10I saw the excitement there that your life might become somewhere different.
40:14Someone new.
40:18I am correct though, aren't I?
40:23Reject the world before it rejects you, Miss Siddle.
40:27Embrace a new way of being.
40:32That way you will always have the upper hand.
40:37I will sit for you in one condition.
40:39Which is?
40:40You give me drawing lessons.
40:43Drawing lessons?
40:44Well, if I'm to become part of your world,
40:46then at least arm me with the skills to make a living
40:48should you reject me as brutally as Hunt.
40:52That isn't going to happen, Miss Siddle.
40:54And I assure you that.
40:56That isn't going to happen.
41:02No, I think this is a much more fitting composition for you.
41:05A troubling combination of temptation spurned and temptation accepted.
41:13Temptation?
41:14Yes.
41:16Temptation.
41:18Um, there will also be a young shepherd.
41:22He will be neglecting his flock of sheep,
41:24which will be behind you here.
41:27And he will have his muscular arm
41:32over you, like so.
41:47May I be frank with you, Auntie?
41:50Seems to me you're really anything else.
41:52You're a virgin, aren't you?
41:55I hardly think that's relevant.
41:58How can you paint temptation without knowing what's on the other side?
42:01I know what it is to be tempted.
42:02That is good enough.
42:04But you don't know what it's like to give in.
42:13What are you thinking about?
42:19He'll forgive you, Auntie.
42:21That's what he does.
42:23Can't you see?
42:24He doesn't look angry.
42:26He just looks disappointed.
42:28I think that's just the way you've painted him.
42:33This is it.
42:37My parents have agreed to pay the rent for a full week.
42:43They said it's the last time they'll subsidise me.
42:46What do you think, Maniac?
42:49I'm sorry.
42:50I'm feeling a little spent.
42:58Thank you, Maniac.
43:02For what?
43:02For your stupidity and letting a stunner like Miss Siddle slip through your hands.
43:08It was only the want of a model that was holding me back.
43:10And your want of application.
43:12Oh, but look.
43:13Look.
43:15She transforms my style.
43:18It's true, Gabriel.
43:19This looks like the work of an artist.
43:21I know.
43:22I know.
43:24Are you saying everything I did before was shit?
43:27I think Johnny means the improvement is truly remarkable.
43:30You're right.
43:31But she is the key that unlocks the treasure of my talent.
43:36Nothing will ever be the same again.
43:39That much is true.
43:40Now, it's down to you two to persuade Ruskin's wife to bring John Ruskin to our exhibition.
43:47What?
43:48You two sweet whelps are going to call on Mrs. Ruskin.
43:51You will charm her and you will persuade her to persuade her husband to attend.
43:55If the future really matters.
43:58Oh, you've not lost another model, have you?
44:01No, no.
44:03Miss Annie Miller will present an even greater challenge than Miss Siddle.
44:07I mean to transform her, to educate her, to give her lessons in manners and literacy.
44:13Maybe cleanliness too, if it's the Annie Miller I'm thinking of.
44:17Don't you speak of her like that!
44:19Don't you use her name like that.
44:21Oh, my God.
44:23You've launched her, haven't you?
44:26Oh, you have, haven't you?
44:28Maniac would no more succumb to temptation than Christ in the Wilderness.
44:32Christ in the Wilderness never met Annie Miller, as far as I can recall.
44:36Well, the New Testament might have been a very different book if he had.
44:40I really thought better of you than that, William.
44:43No.
44:45I'm very ashamed.
44:46Oh, hey.
44:48Don't worry about it.
44:49I'm sure you'll get better with practice.
44:53I'm ashamed of the depravity, not the mechanics.
44:56When you say depravity, would you care to elaborate?
45:01Yes.
45:06Pretty sick maniac, what's got into you?
45:10I don't think what's got into him is the issue!
45:21We have, in fact, met once before, Mrs Ruskin.
45:25Really?
45:26Yes, at Ewell Castle.
45:27I had rather boldly asked to be introduced to you,
45:30but you had made it quite clear that I bored you.
45:33A terrible assumption, for which I now apologise.
45:37Oh, no, no, you were quite right.
45:38I was such a precocious little upstart.
45:41I cannot imagine you being anything other than charming.
45:45And what about you, Mr Walters?
45:47Have we also met before?
45:49I doubt that.
45:51But it would be a great pleasure if we could meet again.
45:55At our exhibition.
45:58If you were to accompany Mr Ruskin.
46:09I will try to persuade Mr Ruskin to attend.
46:12And you must come too, Mrs Ruskin.
46:14We absolutely insist.
46:15Even if you were to come alone.
46:17We are very unconventional and most fond of ladies coming alone.
46:21Fred, try not to be too modern.
46:24You will shock Mrs Ruskin.
46:27I shall insist that Mr Ruskin attends.
46:31We have not socialised since we returned from Venice,
46:33and I sense we are becoming rather dull.
46:36I'm sure that could never be the case.
46:37We will CAD before some passa.
46:42F denies do it.
46:45Oh, yes.
46:47Oh, yes.
46:49Oh.
46:52Oh.
46:54Oh.
46:55Oh.
46:58Yes.
47:00Oh.
47:04Oh.
48:38Hey, any sign of Ruskin?
48:41Not yet. I was wondering if you could give me some advice. I've grown quite sweet on a certain young
48:48lady.
48:48What did his wife say exactly?
48:50I was wondering if it would be a good idea to call to Miss Sidlaw.
48:54Sorry, don't you?
48:54It's a disaster.
48:56You'll have to excuse me, Fred. Johnny is crying again.
49:04Hello, love. Got your face on a patent in the end, then?
49:10That's me. That is love.
49:13Where's Ruskin?
49:14I don't know. You did give them the right date, didn't you, Johnny?
49:18It's different for you. You've never been popular. People used to love me.
49:23This date can get no worse.
49:24It just did. Charles Dickens just walked in.
49:29He hates us.
49:30No. Perfect.
49:33It's Chadwick. Talk to me.
49:36What?
49:43Mr. Rossetti. Chadwick.
49:47I've come for the money I hoard.
49:55Gabriel, he's here.
50:01Which of these young men persuaded you to attend?
50:04You, Johnny.
50:05John Millay. A very sweet young man.
50:08Indeed he is.
50:11Well, I'm encouraged by your nude interest in the arts. Most encouraged.
50:18Why didn't you just paint something like this for me?
50:20I didn't really think it was what you had in mind.
50:23What but the complete absence of dogs and fields.
50:26Oh, who needs fields when you've got a model of this magnitude, Mr. Rossetti?
50:34I want to spend the rest of my life drawing just you.
50:43I'll take this in exchange for the money I advanced you. Then we'll call it straight.
50:48Well, unfortunately, it's worth rather more now that Ruskin has given it a seal of approval.
50:55Ruskin?
50:56Hmm.
50:57Really?
50:58Hmm.
51:00Well, er, what would you think was a reasonable price?
51:04Ooh.
51:07Fifty pounds, maybe?
51:10Well, at that price, maybe I should just check if, er, Mr. Ruskin's opinion of you is as high as
51:16you say it is, eh?
51:22Behold, the carpenter's shop.
51:25Behold, a hideous, rye-necked, blubbering, red-headed boy who appears to have received a poke in the hand.
51:36The attempt to associate the Holy Family with the meanest of details of the carpentry's shop is disgusting.
51:43Pictorial blasphemy.
51:45And that snuffy old woman seems to have mistaken that shop for the tobacconist's next door.
51:55Looks like your price just went back down to five pounds, Mr. Rossetti.
51:58Of course, Wordsworth mocked Turner.
52:02Mr. Ruskin?
52:03Wordsworth said of Turner,
52:05It looks as though the painter had indulged in raw liver until he was unwell,
52:08and a room full of critics like yourself stood and laughed at Turner.
52:16So when I hear the laughter of critics, I'm compelled to pay attention.
52:20Surely you aren't comparing these young men to Turner.
52:22I think in spite of their unfortunate name, the Pre-Raphaelite Brotherhood may, as they gain experience,
52:30lay in our England the foundation of a school of art nobler than the world has seen for 300 years.
52:42I'm perfectly sincere in these opinions.
52:45I should be writing a letter to the Times to that effect in the morning.
52:49Good day.
52:52Did you see Dickens' face?
52:53Much more than I imagined it to be.
52:55No!
52:57What about our hair?
52:58It's all stunning.
52:59Well, all in all, I think we can safely say that we've had a very good day indeed.
53:04To the brotherhood.
53:04The brotherhood!
53:05The brotherhood!
53:07An exhibition that began with no art, no hall and no patrons,
53:12had delivered critical acclaim, money and Ruskin for a champion.
53:17Millet, Rossetti and Hunt had conjured success from the illusion of success.
53:23And in doing this, they had not just transformed their own lives, but Annie's and Lizzie's and, I hoped, mine.
53:31All of us were embarking on a journey with Rossetti at the helm.
53:34And at that moment in time, none of us wanted to be anywhere else.
53:39Gah!