haelitism," by the author of "Modern Painters." (8vo,
pp. 68. London: Smith, Elder, & Co.) It was afterwards reprinted in
1862, without alteration, except that the later issue bore the author's
name, and omitted a dedication which in the first edition ran as
follows:--"To Francis Hawkesworth Fawkes, Esq., of Farnley, These pages,
Which owe their present form to advantages granted By his kindness, Are
affectionately inscribed, By his obliged friend, John Ruskin."--ED.

[29] Compare "Sesame and Lilies," Sec. 2.--ED.

[30] See "Arrows of the Chace," vol. i., which gives several letters
there collected under the head of Pre-Raphaelitism.--ED.

[31] It was not a little curious, that in the very number of the Art
Union which repeated this direct falsehood about the Pre-Raphaelite
rejection of "linear perspective" (by-the-bye, the next time J. B. takes
upon him to speak of anyone connected with the Universities, he may as
well first ascertain the difference between a Graduate and an
Under-Graduate), the second plate given should have been of a picture of
Bonington's--a professional landscape painter, observe--for the want of
_aerial_ perspective in which the Art Union itself was obliged to
apologize, and in which, the artist has committed nearly as many
blunders in _linear_ perspective as there are lines in the picture.

[32] These false statements may be reduced to three principal heads, and
directly contradicted in succession.

The first, the current fallacy of society as well as of the press, was,
that the Pre-Raphaelites imitated the _errors_ of early painters.

A falsehood of this kind could not have obtained credence anywhere but
in England, few English people, comparatively, having ever seen a
picture of early Italian Masters. If they had they would have known that
the Pre-Raphaelite pictures are just as superior to the early Italian in
skill of manipulation, power of drawing, and knowledge of effect, as
inferior to them in grace of design; and that in a word, there is not a
shadow of resemblance between the two styles. The Pre-Raphaelites
imitate no pictures: they paint from nature only. But they have opposed
themselves as a body, to that kind of teaching above described, which
only began after Raphael's time: and they have opposed themselves as
sternly to the entire feeling of the Renaissance schools; a feeling
compounded of indolence, infidelity, sensuality, and shallow pride.
Therefore they have called themselv