DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61290#0080
CHAPTER III.
THE PRE-RAPHAELITE BROTHERHOOD.
The Revolt from the Raphaelesque—Influence of Keats and the
Romantic Poets—The Pre-Raphaelite Brothers and their
Early Work—Travels of Rossetti with Hunt—Publication
of “The Germ”—Hunt and Millais in the Royal
Academy—Ruskin’s Letters to the “Times”—Pre-
Raphaelitism at Liverpool—The Pre-Raphaelites as
Colourists.
THE impulse thus given by Ruskin, in the
minds of the young painters, towards the
larger spiritual life and vision of the Pre-
Raphaelite period, was strengthened, as Mr. Hol-
man Hunt has told us, by the almost accidental
sight of a book of engravings from the frescoes in
the Campo Santo at Pisa, which fell into the hands
of Rossetti and his friends while spending an
evening together at Millais’s house. To such as-
pirants as they, “ crying bitterly unto the gods for
a kingdom wherein to rule and create,” the work
of the early Italian masters here set forth, though
already partially known to them in the National
THE PRE-RAPHAELITE BROTHERHOOD.
The Revolt from the Raphaelesque—Influence of Keats and the
Romantic Poets—The Pre-Raphaelite Brothers and their
Early Work—Travels of Rossetti with Hunt—Publication
of “The Germ”—Hunt and Millais in the Royal
Academy—Ruskin’s Letters to the “Times”—Pre-
Raphaelitism at Liverpool—The Pre-Raphaelites as
Colourists.
THE impulse thus given by Ruskin, in the
minds of the young painters, towards the
larger spiritual life and vision of the Pre-
Raphaelite period, was strengthened, as Mr. Hol-
man Hunt has told us, by the almost accidental
sight of a book of engravings from the frescoes in
the Campo Santo at Pisa, which fell into the hands
of Rossetti and his friends while spending an
evening together at Millais’s house. To such as-
pirants as they, “ crying bitterly unto the gods for
a kingdom wherein to rule and create,” the work
of the early Italian masters here set forth, though
already partially known to them in the National