[34] Here are examples of how Pre-Raphaelitism is seen as a whole by two writers who are otherwise not entirely favourable towards it: “The influence of this school on the last quarter-century has been indisputably beneficial. It led to the direct study of nature, by according little value to conventional rules based on antiquity. Though it was mistaken in unjustly dismissing principles of composition based on centuries of experience, it nonetheless led to a very positive reform.” George H. Shephbro, A Short History of the British School of Painting. “All things considered, English art was more improved than spoiled by what was called the Pre-Raphaelite heresy, for the zeal and the earnestness of its followers served to counterbalance the problems caused by a great number of false paintings, which were produced by painters concerned only with making money, who were only working to sell.” Richard Redgrave, R. A., A Century of Painters of the English School. And to appreciate the influence that Pre-Raphaelitism had, even in branches of art quite distinct from painting, one must read the words of the great decorator Walter Crane: “To find the origins of our Revival, we must go back to the days of the Pre-Raphaelite Brotherhood. Though none of its members was a decorative designer in the strict sense, except D.G. Rossetti, through their resolute and enthusiastic return to the direct symbolism, frank naturalism, and poetic or romantic feeling found in the art of the Middle Ages, combined with the power of modern analysis and an intense love of detail, they directed attention toward branches of design outside painting.” Walter Crane, The English Revival of Decorative Art, Fortnightly Review.

[35] Hodgson, An Artist’s Holiday.

[36] Hamerton, A Painter’s Camp.

[37] Ernest Chesneau, La Peinture anglaise.

[38] Modern Painters, vol. II. Of the Foreground.

[39] Cited and approved by Wiliam Hunt in Talks about Art.

[40] William Morris, Hopes and Fears for Art.

[41] Aratra Pentelici, Of the Division of Arts.

[42] Walter Crane, The English Revival of Decorative Art.

[43] John Ruskin, Val d’Arno, passim.

[44] William Morris, Hopes and Fears for Art.

[45] Sir John Millais, Thoughts on our Art of To-day.

[46] Ibid.

[47] John Ruskin, The Two Paths.

[48] “It may be doubted whether the national mind has turned to art from the pure love for it.” P.G. Hamerton, Thoughts about Art, London, 1889.