apostles were few, its influence was important. The words of Burne Jones,
in which he gave his own ideal, appeal to many artists and lovers of art:
"I mean by a picture a beautiful, romantic dream of something that never
was, never will be--in a light better than any light that ever shone--in
a land no one can define or remember, only desire--and the forms divinely
beautiful."

Rossetti's "Girlhood of Virgin Mary," Holman Hunt's "Light of the World,"
and Millais' "Christ in the House of His Parents" have been called the
Trilogy of Pre-raphaelite Art.

Millais did not long remain a strict disciple of this school, but soon
adopted the fuller freedom of his later work, which may be called that of
modern naturalism. Rossetti remained a Pre-raphaelite through his short
life, but his works could not be other than individual, and their
distinct personality almost forbade his being considered a disciple of
any school.

Holman Hunt may be called the one persistent follower of this cult. He
has consistently embodied his convictions in his pictures, the value of
which to English art cannot yet be determined. This is also true of the
marvellous work of Burne Jones; but although they have but few faithful
followers, Pre-raphaelite art no longer needs defence nor apology.

Its secondary effect is far-reaching. To it may be largely attributed the
more earnest study of Nature as well as the simplicity of treatment and
lack of conventionality which now characterizes English art to an extent
before unknown.

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