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Updated: May 24, 2025
But the wife of Morris believed in her lord, and never sought to hamper him; and if she failed at times to comprehend his genius, it was only because she was human. Whistler once remarked that without Mrs. Morris to supply stained-glass attitudes and the lissome beauty of an angel, the Preraphaelites would have long since gone down to dust and forgetfulness.
The Preraphaelite Brotherhood, like all other liberal organizations, was quite inclined to be illiberal. And the prejudice of this clanship, avowedly founded without prejudice, lay in the assumption that life and art suffered a degeneration from the rise of Raphael. In art, as in literature, there is overmuch tilting with names so the Preraphaelites enlisted under the banner of Botticelli.
It was here that the Preraphaelites made history: Madox Brown, Burne-Jones, Ruskin, William Morris and the MacDonalds. Burne-Jones married one of the MacDonald daughters; Mr. Poynter, now Director of the National Gallery, another; Mr. Kipling still another with Rudyard Kipling as a result, followed in due course by Mulvaney, Ortheris and Learoyd, who are quite as immortal as the rest.
Ruskin held up the picture, and the Preraphaelites got them to their easels. At once all original "Botticellis" were gotten out, "restored" and reframed. The prices doubled, trebled, quadrupled, as the brokers scoured Europe. By the year Eighteen Hundred Eighty-six every "Botticelli" had found a home in some public institution or gallery, and no lure of gold could bring one forth.
Raphael marks an epoch. He did what no man before him had ever done, and by the sublimity of his genius placed the world forever under obligations to him. In fact, the art of the Preraphaelites was built on Raphael, with an attempt to revive the atmosphere and environment that belonged to another.
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