er
from contempt for the abasement around them. If there was greatness in
measure in English Art, it was greatness subjected to tradition and
conventionalism. The three artists we have just named were the only
great freemen, in the realm of Art England had known down to the close
of the first half of the nineteenth century; and of these, Turner alone
has left his impress on the Art succeeding his.

With the commencement of the present half-century there began a
systematic movement in revolt from the degradation of Art in England,
which, unfortunately, so far as significance was concerned, assumed the
name of Pre-Raphaelitism. It extended itself rapidly, absorbing most of
the young painters of any force or earnestness, and attracting some who
already held high places in public esteem. Being something new, it
was sure of its full measure of derision while it was considered
unimportant, and of bitter and violent antagonism when it became evident
that it was strong enough to make its way. This hostility, beaten down
for the moment by the rhetoric of Ruskin and the inherent earnestness
of the new Art, is, however, as sure to prevail again as the English
character is at once conservative of old forms, reverential of
authorities, and subject to enthusiasms for new things, whose very
extravagance tends to reaction. If Pre-Raphaelitism now holds its own in
England, it is simply because it is neither thoroughly understood nor
completely defined. It is an absolutely revolutionary movement, and
must, therefore, be rejected by the English mind when seen as such,--and
this all the more certainly and speedily because Ruskin with his
imaginative enthusiasm has raised it to a higher position than it really
deserves at present. That cause is unfortunate which retains as its
advocate one whose rhetoric persuades all, while his logic convinces
none; and the too readily believing converts of his enthusiasm and
splendid diction, their sympathetic fire abated, revert with an
implacable bitterness to their former traditions. With all our respect
for Ruskin, we think that he has asserted many things, but proved next
to nothing. He has utterly misunderstood and misstated Pre-Raphaelitism,
which will thus be one day the weaker for his support.

But, pending this inevitable decline in favor at home, Pre-Raphaelitism
colonizes. During the past year, some lovers of Art in England organized
an association, having as its purpose the introduction of E