reference to the Praeraphaelite magazine "The Germ," republished in
this volume. I know of no particular reason why I should not do this,
for certain it is that few people living know, or ever knew, so much
as I do about "The Germ,"; and if some press-critics who regarded
previous writings of mine as superfluous or ill-judged should
entertain a like opinion now, in equal or increased measure, I
willingly leave them to say so, while I pursue my own course none the
less.

"The Germ" is here my direct theme, not the Praeraphaelite
Brotherhood; but it seems requisite to say in the first instance
something about the Brotherhood--its members, allies, and ideas--so
as to exhibit a raison d'être for the magazine. In doing this I must
necessarily repeat some things which I have set forth before, and
which, from the writings of others as well as myself, are well enough
known to many. I can vary my form of expression, but cannot introduce
much novelty into my statements of fact.

In 1848 the British School of Painting was in anything but a vital or
a lively condition. One very great and incomparable genius, Turner,
belonged to it. He was old and past his executive prime. There were
some other highly able men--Etty and David Scott, then both very near
their death; Maclise, Dyce, Cope, Mulready, Linnell, Poole, William
Henry Hunt, Landseer, Leslie, Watts, Cox, J.F. Lewis, and some
others. There were also some distinctly clever men, such as Ward,
Frith, and Egg. Paton, Gilbert, Ford Madox Brown, Mark Anthony, had
given sufficient indication of their powers, but were all in an early
stage. On the whole the school had sunk very far below what it had
been in the days of Hogarth, Reynolds, Gainsborough, and Blake, and
its ordinary average had come to be something for which commonplace