William Michael Rossetti (25 September 1829 – 5 February 1919) was an English writer and critic. Early life Born in London, Rossetti was a son of immigrant Italian scholar Gabriele Rossetti and his wife Frances Rossetti née Polidori; he was the brother of Maria Francesca Rossetti, Dante Gabriel Rossetti and Christina Georgina Rossetti. Career He was one of the seven founder members of the Pre-Raphaelite Brotherhood in 1848, and became the movement's unofficial organizer and bibliographer. He edited the Brotherhood's literary magazine The Germ which published four issues in 1850. Rossetti wrote the poetry reviews for this magazine. It was William Michael Rossetti who recorded the aims of the Pre-Raphaelite Brotherhood at their founding meeting in September 1848: To have genuine ideas to express; To study Nature attentively, so as to know how to express them; To sympathize with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; And most indispensable of all, to produce thoroughly good pictures and statues. Although Rossetti worked full-time as a civil servant, he maintained a prolific output of criticism and biography across a range of interests from Algernon Swinburne to James McNeill Whistler. He edited the diaries of his maternal uncle John William Polidori (author of The Vampyre and physician to Lord Byron), a comprehensive biography of D. G. Rossetti, and edited the collected works of D. G. Rossetti and Christina Rossetti. Rossetti edited the first British edition of the poetry of Walt Whitman, which was published in 1868; however, this edition was bowdlerized. Anne Gilchrist, who became one of the first to write about Whitman, first read his poetry from Rossetti's edition, and Rossetti helped initiate their correspondence. William Michael Rossetti was a major contributor to the 1911 edition of the Encyclopædia Britannica; his contributions on artistic subjects were criticised by many reviewers at the time and since, as showing little evidence of having absorbed the mounting body of work by academic art historians, mostly writing in German. Below is a quotation from his article on Fra Angelico demonstrating his literary and art-historical style: The "pietistic" quality of Fra Angelico's work is in fact its predominant characteristic. The faces of his figures have an air of rapt suavity, devotional fervency and beaming esoteric consciousness, which is intensely attractive to some minds ... the faces becoming sleek and prim, with