More Pre-Raphaelites: Holman Hunt's "The Hireling Shepherd" (1851) and J. W. Waterhouse's Lady of Shalott (1888) and another image of Waterhouse's Lady (illustrating Tennyson's poem).
Journalism: a header from an 1844 Illustrated London News, and a front page.
Your excerpt from Pater's Renaissance has, as visual example, only the Mona Lisa (La Gioconda); Pater's book also devotes chapters to Giorgione, Michelangelo (as poet), Della Robbia, and Botticelli. Here's Giorgone's Tempest (1508), Luca Della Robbia's Virgin and Child, and Botticelli's Madonna of the Pomegranate (1490s).
From Toronto again, Walter Pater on Coleridge, and on Wordsworth, and on style: "Such is the matter of imaginative or artistic literature -- this transcript, not of mere fact, but of fact in its infinite variety, as modified by human preference in all its infinitely varied forms."
The Victorian Web people go to work on Hopkins and on Pater.
Hopkins at Toronto: "The Wreck of the Deutschland." "The Windhover." Also "As kingfishers..." and two of the so-called "terrible sonnets," "No worst, there is none" and "Thou art indeed just, Lord."
Hopkins's source for "Thou art indeed just": Jeremiah 12, in the King James version, and (if you read Latin) in a nonacademic online edition of the Vulgate, what Hopkins himself would have read and reread.
Some pages from Hopkins' journals (note the interpenetration of words and sketches).
A British kingfisher. Another British kingfisher: see how the feathers across the bird's back "catch fire."
A windhover, or British kestrel, in characteristic "hovering" form.
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