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Individualists clamour for a large and vigilant police force. That is how the nineteenth century looks to us. Most of the mountains are in labour with ridiculous mice, but the spheres are shaken by storms in intellectual teacups. The Pre-Raffaelites call in question the whole tradition of the Classical Renaissance, and add a few more names to the heavy roll of notoriously bad painters.
Do but remember the books and lectures by which students are instructed; or consider the criticisms of Ruskin; or look at the doings of the Pre-Raffaelites; and you will see that progress in painting implies increasing knowledge of how effects in Nature are produced. The most diligent observation, if unaided by science, fails to preserve from error.
The influence which a new school of Painting as that of the pre-Raffaelites exercises upon other schools; the hints which all kinds of pictorial art are deriving from Photography; the complex results of new critical doctrines, as those of Mr. Ruskin, might severally be dwelt upon as displaying the like multiplication of effects.
Had the Pre-Raffaelites been blessed with profoundly imaginative minds they might have recaptured the spirit of the Middle Ages instead of imitating its least significant manifestations. But had they been great artists they would not have wished to recapture anything. They would have invented forms for themselves or derived them from their surroundings, just as the mediaeval artists did.
The Pre-Raffaelites were men of taste who felt the commonness of the High Renaissance and the distinction of what they called Primitive Art, by which they meant the art of the fifteenth and fourteenth centuries.
For their own inspiration they looked to the past instead of looking about them. Instead of diving for truth they sought it on the surface. The fact is, the Pre-Raffaelites were not artists, but archaeologists who tried to make intelligent curiosity do the work of impassioned contemplation. As artists they do not differ essentially from the ruck of Victorian painters.
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