{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://digital.library.illinois.edu/items/3ccd3220-95ef-013b-4501-02d0d7bfd6e4-3/manifest","@type":"sc:Manifest","label":"Letter from Frederic George Stephens to William Allingham, June 24, 1855","metadata":[{"label":"Title","value":"Letter from Frederic George Stephens to William Allingham, June 24, 1855"},{"label":"Creator","value":"Stephens, Frederic George, 1827-1907"},{"label":"Date","value":"1855-06-24"},{"label":"Description","value":["One letter from British art critic and non-artist member of the Pre-Raphaelite Brotherhood, Frederic George Stephens to William Allingham thanking him for the copy of Allingham's new set of poems, sent to him by Allingham's publisher. Stephen's mentions that  he has the first series of \"Day \u0026 Night Songs,\" and the larger version was published by Chapman \u0026 Hall. Stephens writes that he introduced Allingham's poems \"Aeolian Harps\" and  \"The Seranade,\" to a lady who would like Allingham's permission to set the latter poem to music, but not to be published. Stephens also mentions a theory of dew-formation that may be interesting to Allingham, as he mentions \"falling dew\" in his poem \"In the Dusk.\" He is looking forward to seeing Allingham in town, and wants to meet so that Allingham may keep his promise of writing a boating song, and writes that he will provide Allingham with the facilities of studying the subject. In a post-script, Stephens compliments the woodcut done by artist Arthur Hughes, written as A.H., for Allingham's poem \"The Faeries\".","One letter from British art critic and non-artist member of the Pre-Raphaelite Brotherhood, Frederic George Stephens to William Allingham writing a response to Allingham's letter from August 29th, now that he has the leisure time to do so. Stephens mentions a volume of Allingham's poetical works. Stephens also mentions parcels of Allingham's work. Stephens informs Allingham that he will not yet be able to send the design for \"Aeolian Harp,\" which he had promised but will begin working on it soon. He also offers updates on their acquaintances. He writes that Millais is in Perth, Scotland, and that Halliday is soon to visit the Crimea, and that Hunt is likely still in Jerusalem. Stephens mentions the publication \"The Crayon,\" which he recommends. He also mentions Edmund Blanchard and William Michael Rossetti. Stephens informs Allingham that Brownings new volume is printed but he has not yet seen them. Stephen's mentions other designs he would like to create based on Allingham's poems and hopes Allingham will approve of such work.       One letter and accompanying envelope from British art critic and non-artist member of the Pre-Raphaelite Brotherhood, Frederic George Stephens to William Allingham inquiring on how Allingham has been in Ireland. He also inquires why Allingham, whom he calls \"Oh Faithful Poet,\" has not sent the verses he promised Stephens. Stephen's mentions verses addressed to a certain \"Stephens,\" regarding Browning and some secondary verses which Allingham had requested to be returned to him. Stephens writes that he has been out of London in a small town called Hull, and mentions a line from the Beggar's Litany, \"Hell, Hull, and Halifax, Good Lord Deliver us!\" He also mentions the land-drains in the area around Holderness. Stephens mentions that Halliday and Hunt are staying with Millais. He also mentions a publication by Wilberforce called the \"Idler.\" Stephens informs Allingham that while in Hull, he visited the Beverley Minster, which he calls \"one of the most beautiful Gothic works I ever saw.\" The accompanying envelope is addressed to Allingham at Ballyshannon, and is post-marked September 26-27, 1856. There is also a note written by Allingham that reads, \"Stephens Sep. 24/56."]},{"label":"Extent","value":["1 leaf, 4 pages","1 envelope"]},{"label":"Dimensions","value":["18 x 22.5 cm. (leaf 1)","6.9 x 12.1 cm. (envelope)"]},{"label":"Language","value":"English"},{"label":"Geographic Subject","value":["Pimlico (London, England)","Ballyshannon (Ireland)"]},{"label":"Subject","value":"Stephens, Frederic George, 1828-1907"},{"label":"Genre Subject","value":"Personal Correspondence"},{"label":"Collection Title","value":"William Allingham Papers"},{"label":"Series","value":"Series 1: Correspondence: Sub-series 2: Correspondence to William Allingham;"},{"label":"Container","value":"Box 3, Folder 36: Stephens, Frederic George to William Allingham, 1855-1874"},{"label":"Rights","value":"No Copyright - United States"},{"label":"Rights Description","value":"This item is in the public domain."},{"label":"Acquisition Information","value":"Purchased from Ivor L. Poole Ltd., circa 1951-1953"},{"label":"Type","value":"Correspondence"},{"label":"Identifier","value":"0003_003_036_01"},{"label":"Bibliographic Identifier","value":"Ballyshannon (Ireland)"}],"description":"One letter from British art critic and non-artist member of the Pre-Raphaelite Brotherhood, Frederic George Stephens to William Allingham thanking him for the copy of Allingham's new set of poems, sent to him by Allingham's publisher. Stephen's mentions that  he has the first series of \"Day \u0026 Night Songs,\" and the larger version was published by Chapman \u0026 Hall. Stephens writes that he introduced Allingham's poems \"Aeolian Harps\" and  \"The Seranade,\" to a lady who would like Allingham's permission to set the latter poem to music, but not to be published. Stephens also mentions a theory of dew-formation that may be interesting to Allingham, as he mentions \"falling dew\" in his poem \"In the Dusk.\" He is looking forward to seeing Allingham in town, and wants to meet so that Allingham may keep his promise of writing a boating song, and writes that he will provide Allingham with the facilities of studying the subject. In a post-script, Stephens compliments the woodcut done by artist Arthur Hughes, written as A.H., for Allingham's poem \"The Faeries\".","thumbnail":{"@id":"https://images.digital.library.illinois.edu/iiif/2/2cb9ec20-95f1-013b-4501-02d0d7bfd6e4-9/full/!256,256/0/default.jpg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://images.digital.library.illinois.edu/iiif/2/2cb9ec20-95f1-013b-4501-02d0d7bfd6e4-9","profile":"http://iiif.io/api/image/2/level2.json"}},"service":[{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://images.digital.library.illinois.edu/iiif/2/2cb9ec20-95f1-013b-4501-02d0d7bfd6e4-9","profile":"http://iiif.io/api/image/2/level2.json"}],"logo":"https://digital.library.illinois.edu/assets/Illinois-Logo-Reversed-Orange-RGB-100-4dc138603db54952c91732afd189efd828ba543796a2ab0f9a81afcf2b308b27.png","related":{"@id":"https://digital.library.illinois.edu/items/3ccd3220-95ef-013b-4501-02d0d7bfd6e4-3","format":"text/html"},"seeAlso":[{"@id":"https://digital.library.illinois.edu/items/3ccd3220-95ef-013b-4501-02d0d7bfd6e4-3.json","format":"application/json"},{"@id":"https://digital.library.illinois.edu/items/3ccd3220-95ef-013b-4501-02d0d7bfd6e4-3.atom","format":"application/atom+xml"}],"viewingDirection":"left-to-right","viewingHint":"paged","navDate":"1855-06-24T05:50:36Z","license":"https://rightsstatements.org/page/NoC-US/1.0/","attribution":"This item is in the public domain.","within":{"@id":"https://digital.library.illinois.edu/collections/383048a0-f0be-013a-c650-02d0d7bfd6e4-7/iiif","format":"application/json"},"sequences":[{"@id":"https://digital.library.illinois.edu/items/3ccd3220-95ef-013b-4501-02d0d7bfd6e4-3/sequence/page","@type":"sc:Sequence","label":"Pages","viewingHint":"paged","canvases":[{"@id":"https://digital.library.illinois.edu/items/2d871d40-95f1-013b-4501-02d0d7bfd6e4-8/canvas/canvas1","@type":"sc:Canvas","label":"00003_003_036_01-001","height":3000,"width":1931,"metadata":[{"label":"Title","value":"00003_003_036_01-001"},{"label":"Rights","value":"No Copyright - 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