and to-day holds high rank in
English art; but he is an uneven painter, often doing weak,
harshly-colored work. Moreover, the English tendency to tell stories
with the paint-brush finds in Millais a faithful upholder. At his best
he is a strong painter.

Madox Brown (1821-1893) never joined the Brotherhood, though his
leaning was toward its principles. He had considerable dramatic power,
with which he illustrated historic scenes, and among contemporary
artists stood well. The most decided influence of pre-Raphaelitism
shows in Burne-Jones (1833-), a pupil of Rossetti, and perhaps the
most original painter now living[18] of the English school. From
Rossetti he got mysticism, sentiment, poetry, and from association
with Swinburne and William Morris, the poets, something of the
literary in art, which he has put forth with artistic effect. He has
not followed the Brotherhood in its pursuit of absolute truth of fact,
but has used facts for decorative effect in line and color. His
ability to fill a given space gracefully, shows with fine results in
his pictures, as in his stained-glass designs. He is a good
draughtsman and a rather rich colorist, but in brush-work somewhat
labored, stippled, and unique in dryness. He is a man of much
imagination, and his conceptions, though illustrative of literature,
do not suffer thereby, because his treatment does not sacrifice the
artistic. He has been the butt of considerable shallow laughter from
time to time, like many another man of power. Albert Moore
(1840-1893), a graceful painter of a decorative ideal type, rather
follows the Rossetti-Burne-Jones example, and is an illustration of
the influence of pre-Raphaelitism.

[Footnote 18: Died 1898.]

OTHER FIGURE AND PORTRAIT PAINTERS: Among the contemporary painters
Sir Frederick Leighton (1830-1896), President of the Royal Academy, is
ranked as a fine academic draughtsman, but not a man with the
color-sense or the brushman's quality in his work. Watts (1818-1904)
is perhaps an inferior technician, and in color is often sombre and
dirty; but he is a man of much imagination, occasionally rises to
grandeur in conception, and has painted some superb portraits, notably
the one of Walter Crane. Orchardson (1835-) is more of a painter, pure
and simple, than any of his contemporaries, and is a knowing if
somewhat mannered colorist. Erskine Nicol (1825-), Faed[19] (1826-),
Calderon (1833-), Boughton (1834-1905), Frederick Walker (1840-1875)