Mariana, Measure for Measure, III-1 (1851). Oil on canvas. 60 x 50. Mariana is an 1851 oil-on-panel painting by John Everett Millais. The image depicts the solitary Mariana from William Shakespeare's Measure for Measure, as retold in Tennyson's 1830 poem Mariana. The painting is regarded as an example of Millais's precision, attention to detail, and stellar ability as a colorist. It has been held by Tate Britain since 1999. In Shakespeare's Measure for Measure, written between 1601 and 1606, Mariana was a woman who was about to be married, but she was rejected by her fiancé Angelo when her dowry was lost in the shipwreck that also killed her brother. She retreated to a solitary existence in a moated house. Five years later, Angelo was tricked into consummating their betrothal. Tennyson retold the tale in his 1830 poem Mariana, and returned to it in his 1832 poem Mariana in the South. Millais was a founding member of the Pre-Raphaelite Brotherhood, a group of English artists who came together in 1848 with the goal of renewing British painting. They found in the art of the early Italian Renaissance, before Raphael, a sincerity of purpose and clarity of form that they sought to emulate. The Pre-Raphaelites frequently used allegorical images to create a narrative to teach a moral virtue or virtues, and sometimes used contemporary literature as inspiration for their paintings, which often include numerous details that allow the viewer to read the painting. Millais used Tennyson's poetry to create a narrative for his painting of Mariana and he wanted to allow the viewer familiar with Tennyson's poetry to read the entire poem through the painting. It was first exhibited at the Royal Academy in 1851-the year after Tennyson was appointed as Poet Laureate-with a display caption that contained lines 9 to 12 from Tennyson's poem Mariana: She only said, My life is dreary, He cometh not, she said; She said, I am aweary, aweary, I would that I were dead! Millais's painting may have been painted as a companion piece to William Holman Hunt's 1850 painting Claudio and Isabella, which also depicts a scene from Measure for Measure. The composition and details of the painting were influenced by Van Eyck's 1434 painting The Arnolfini Marriage. The painting depicts a woman in a long blue dress, standing up from the embroidery laid out before her to stretch her back. Her upholstered stool and the table are set before a Gothic window with stained glass, through which can be seen a garden with leaves are turning from green to autumnal brown. Some leaves have fallen on the embroidery, and more onto the bare wooden floorboards beside a small mouse. In the background, a small triptych, a silver casket and candles have been set out as a devotional altar on a piece of furniture covered with white cloth beside the curtain of a bed. The work is painted on a mahogany panel, primed with a white ground, and measures 49.5 cm × 59.7 cm. It may have been painted wet-on-wet on a second ground, with graphite underdrawing. The paint is thinly applied in some areas to enhance the reflective effect of the white ground, but thickly applied in others. The woman's blue dress is painted with two blue pigments, Prussian blue and ultramarine. The painting is packed with details that help the viewer to read the narrative of the work from Tennyson's poetry. The autumn leaves indicate a story about waiting and the passage of time. The woman's arched back makes it seem like she has been sitting too long and she must stand up to stretch before she sits back at her work, but her posture also emphasises her bust and hips. The roll of completed embroidery on the table gives the viewer a clue as to how long Mariana has been working on it. The altar in the background may be a reference to Mariana's fervent prayers to the Virgin Mary in Mariana in the South. The stained glass in the window shows an Annunciation scene, with the Angel Gabriel and the Virgin Mary, based on a window at the east end of the chapel of Merton College, Oxford, and also an invented coat of arms with a snowdrop and the Latin motto In coelo quies, possibly a reference to the feast of St Agnes' Eve and John Keats's poem The Eve of St Agnes. Many of the details in the painting relate directly to Tennyson's poetry. For example, the little mouse in the bottom right corner is a detail directly from the poem: the mouse behind the mouldering wainscots shriek'd or from the crevice peer'd about. An anecdote reports that the mouse was drawn from life-or rather death, as it was killed by Millais after it scurried across the floor and hid behind some furniture so he could immortalise it. Together, Millais's painting and Tennyson's poem create an intriguing storyline for the reader to follow.