es Pre-Raphaelite. If they adhere to
their principles, and paint nature as it is around them, with the help
of modern science, with the earnestness of the men of the thirteenth and
fourteenth centuries, they will, as I said, found a new and noble school
in England. If their sympathies with the early artists lead them into
mediaevalism or Romanism, they will of course come to nothing. But I
believe there is no danger of this, at least for the strongest among
them. There may be some weak ones, whom the Tractarian heresies may
touch; but if so, they will drop off like decayed branches from a strong
stem. I hope all things from the school.

The second falsehood was, that the Pre-Raphaelites did not draw well.
This was asserted, and could have been asserted only by persons who had
never looked at the pictures.

The third falsehood was, that they had no system of light and shade. To
which it may be simply replied that their system of light and shade is
exactly the same as the Sun's; which is, I believe, likely to outlast
that of the Renaissance, however brilliant.

[33] See ante, pp. 148-157.--ED.

[34] He did not use his full signature, "J. M. W.," until about the year
1800.

[35] I shall give a _catalogue raisonnee_ of all this in the third
volume of _Modern Painters_.

[36] See _post_, Sec. 217.

[37] The plate was, however, never published.

[38] And the more probably because Turner was never fond of staying long
at any place, and was least of all likely to make a pause of two or
three days at the beginning of his journey.

[39] _Vide Modern Painters_, Part II. Sect. III. Chap. IV. Sec. 13.

[40] See _ante_, Sec. 200.

[41] This state of mind appears to have been the only one which
Wordsworth had been able to discern in men of science; and in disdain of
which, he wrote that short-sighted passage in the Excursion, Book III,
P. 165-190, which is, I think, the only one in the whole range of his
works which his true friends would have desired to see blotted out. What
else has been found fault with as feeble or superfluous, is not so in
the intense distinctive relief which it gives to his character. But
these lines are written in mere ignorance of the matter they treat; in
mere want of sympathy with the men they describe: for, observe, though
the passage is put into the mouth of the Solitary, it is fully
confirmed, and even rendered more scornful, by the speech which follows.

THE THREE COLORS OF PRE-RAPHA