The Praeraphaelite Brothers entertained a deep respect and a sincere affection for the works of some of the artists who had preceded Raphael; and they thought that they should more or less be following the lead of those artists if they themselves were to develop their own individuality, disregarding school-rules.  This was really the sum and substance of their “Praeraphaelitism.”  It may freely be allowed that, as they were very young, and fired by certain ideas impressive to their own spirits, they unduly ignored some other ideas and theories which have none the less a deal to say for themselves.  They contemned some things and some practitioners of art not at all contemptible, and, in speech still more than in thought, they at times wilfully heaped up the scorn.  You cannot have a youthful rebel with a faculty who is also a model head-boy in a school.

The P.R.B. was completed by the accession of three members to the four already mentioned.  These were James Collinson, a domestic painter; Frederic George Stephens, an Academy-student of painting; and myself, a Government-clerk.  These again, when the P.R.B. was formed towards September 1848, were all young, aged respectively about twenty-three, twenty-one, and nineteen.

This Praeraphaelite Brotherhood was the independent creation of Holman-Hunt, Millais, Rossetti, and (in perhaps a somewhat minor degree) Woolner:  it cannot be said that they were prompted or abetted by any one.  Ruskin, whose name has been sometimes inaccurately mixed up in the matter, and who had as yet published only the first two volumes of “Modern Painters,” was wholly unknown to them personally, and in his writings was probably known only to Holman-Hunt.  Ford Madox Brown had been an intimate of Rossetti since March 1848, and he sympathized, fully as much as any of these younger men, with some old-world developments of art preceding its ripeness or over-ripeness:  but he had no inclination to join any organization for protest and reform, and he followed his own course—­more influenced, for four or five years ensuing, by what the P.R.B.’s were doing than influencing them.  Among the persons who were most intimate with the members of the Brotherhood towards the date of its formation, and onwards till the inception of “The Germ,” I may mention the following.  For Holman-Hunt, the sculptor John Lucas Tupper, who had been a fellow Academy-student, and was now an anatomical designer at Guy’s Hospital:  he and his family were equally well acquainted with Mr. Stephens.  For Millais, the painter Charles Allston Collins, son of the well-known painter of domestic life and coast-scenes William Collins; the painter Arthur Hughes; also his own brother, William Henry Millais, who had musical aptitudes and became a landscape-painter.  For Rossetti, William Bell Scott (brother of David Scott), painter, poet, and Master of the Government School of Design in Newcastle-on-Tyne; Major Calder Campbell, a retired Officer of the Indian army, and a somewhat