days, and performance in the way of serious personal thought in invention and design, and serious personal minute study of Nature as the solid substratum of all genuine execution. The name "Præ-Raphaelite" was adopted, not because the young men wanted to imitate early and immature works of art (which, in fact, they never did), but to indicate that they would not be hidebound by any rules or traditions, Raphaelite or Post-Raphaelite, which they might not find ratified by visible nature and their own minds. From the very beginning of the movement, the men painted in styles differing the one from the other, although with some common principles of work to found upon; and after some four years of association they sundered, each on his own track. Millais became justly celebrated for facile and striking realism, somewhat obvious in point of thought; and Holman Hunt for strenuous well-pondered purpose and unflinching precision of execution. Rossetti, on the other hand, pursued beauty as his main object, combined with ideal or symbolic suggestiveness.
37.Painter, 1829-1896; A.R.A., 1853; R.A., 1863; P.R.A., 1896; created a baronet, 1885. As already implied, he and Rossetti were fellow-students together at the Royal Academy—Millais in the Painting School, Rossetti in the Antique School. He was on terms of unrestricted intimacy with Rossetti in youth, as were all the Præ-Raphaelites, but, owing to death and other causes, Rossetti lost sight of all of them, except Stephens, eventually.
38.Painter, 1827. Also a fellow-student of Rossetti's at the Royal Academy, and the third Præ-Raphaelite.
39.Sculptor and poet, 1826; A.R.A., 1871; R.A., 1876; Professor of Sculpture in the Royal Academy, 1877-79; the fourth Præ-Raphaelite.
