es foster an important connection between his multiple artistic media. In addition, many of them are in relation to his own painterly work, or make a personal comment regarding the work of another artist. However, "the sonnets also raise the issue of "translation" in a number of important ways: all of the sonnets are acts of "translation", but many deal explicitly with the morphologies of text and image." (Rossetti Archive). For example, the painting The Blessed Damozel portrays the situation of the damozel in heaven and her lover on earth slightly differently than the sonnet of the accompanying name does. In "For a Venetian Pastoral" it is possible that Giorgione had an interpretation that was very different from that of Rossetti (especially in regards to the woman). Does Giorgione hold responsibility for Rossetti's interpretation of his work? Comment on these differences and the issue of translation. What does this say about the sisterly arts?
4. Rossetti used typological structures in two ways. The first was to give Christian devotional images more power, and the second use was to employ these structures more as a model for his later works that dealt with issues of time and nostalgia. In short, Rossetti derived from structures of typology the idea of a moment or event and its connections with immortality and eternity. "In other words, typology provides repeated instances of situations in which the eternal brushes up against or reaches into human time" (Landow). What evidence of structures of typology remain in "For a Venetian Pastoral"?
Landow, George P. "Life touching lips with immortality": Rossetti's Temporal Structures. Accessed 17 October 2004.
McGann, Jerome J., ed. The Rossetti Archive. Accessed 3 October 2004. http://jefferson.village.virginia.edu:2020.
Rossetti, Dante Gabriel. Collected Poetry and Prose. New Haven: Yale University Press, 2003.
The Webster Dictionary On-line. Accessed 17 October 2004. http://www.m-w.com/dictionary.htm.
Last modified 17 October 2004