| The Arthurian legend, after centuries of neglect, was resurrected as the British national epic in the early nineteenth century. This rebirth, a manifestation of the interest in romance literature associated with the Gothic Revival, did not significantly affect the visual arts until the reign of Queen Victoria. The Arthurian revival in painting was, in fact, a Victorian phenomenon, built upon the interpretation of the early nineteenth century, but endowed with the ideals of the subsequent era.;After mid-century Arthurian imagery flourished. Stimulated both by Dyce's program and the emerging Arthuriad of the Poet Laureate Alfred Tennyson, the Idylls of the King, subjects from the legend were explored in every sector of the art world. Interest began among the original Pre-Raphaelite Brotherhood, but soon spread to the most conventional artists of the Royal Academy of Arts. A remarkable continuity distinguished Arthurian painting, and a distinctive style and iconography developed. By the end of the century, however, the legend, like the idealism that fostered it, lost its special significance. Stripped of its meaning, the Arthurian revival and its importance for British history painting, came to an end.;A new definition of national character, born of popular medievalism and based on chivalric virtue, inspired this movement in the arts. The legend was introduced in painting when in 1848, Prince Albert secured the services of William Dyce to create an allegorical program in fresco, employing Arthurian subjects, in the Queen's Robing Room of the new Palace at Westminister. Following the conventions of mature Nazarene history painting Dyce formulated an austere yet eloquent expression, setting Arthurian subjects apart from the mainstream of romantic painting. |
