In general, I would say that the curation process was much more difficult than I anticipated in order to fill out the information needed for the Rossetti exhibit. Maybe it was because my group was curating the more modern adaptations, which I would think would be easier, but there was a significant lack of resources online. As I was specifically curating the work of Lauren Wright Douglas, this may have been because Naiad Press was no longer still a publishing company which definitely contributes to the lack of information online. The PDF document was definitely the most helpful for bridging any gaps in what I needed to find for illustration or publishers, because the rest of the time it felt like I was scouring the internet for any scraps. 

The diachronic model of looking at this poem was very enlightening for examining how the nature of the work changed over time, demonstrating how Rossetti’s sensuous imagery was so poignant that it influenced adaptations of the story years after she passed. I think that is truly the most important signifier of how well-crafted and realized the original poem is, and I really enjoyed looking at all of the other illustrations and different artists’ interpretations. What I found humorous about learning about many of these Victorian texts is the fact that many of the original authors didn’t enjoy the alternate drawings or interpretations of their work. However, I think that's one of the best parts, the idea that the prose in these literary works is so sense-engaging that it inspires creative individuals differently in a multitude of ways, allowing these stories to live on.