LECTURE IV

PRE-RAPHAELITISM¹

Delivered November 18, 1853

107. THE subject on which I would desire to engage your attention this evening, is the nature and probable result of a certain schism which took place a few years ago among our British artists.

This schism, or rather the heresy which led to it, as you are probably aware, was introduced by a small number of very young men; and consists mainly in the assertion that the principles on which art has been taught for these three hundred years back are essentially wrong, and that the principles which ought to guide us are those which prevailed before the time of Raphael; in adopting which, therefore, as their guides, these young men, as a sort of bond of unity among themselves, took the unfortunate and somewhat ludicrous name of “Pre-Raphaelite Brethren.”²

108. You must also be aware that this heresy has been opposed with all the influence and all the bitterness of art and criticism;³ but that in spite of these the heresy has gained ground, and the pictures painted on these new principles have obtained a most extensive popularity. These circumstances are sufficiently singular, but their importance

¹ [Ruskin’s Synopise of the Lecture in the preliminary announcement was as follows:-

“Pre-Raphaelitism.

Character of Art before and after Raphael. Causes of Decline after Raphael’s Time. State of Modern Historical Painting. Nature of the Reaction which is taking Place. Merits and Faults of the Works of HUNT and MILLAIS. Probable Effect of the Movement, Objects now Principally to be kept in View by the Modern Artist and his Patrons.”]

² [for other references in this sense, see below, p. 321.]

³ [For specimens, see above, p. x1v., and below, p. 319.]

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