elements of sanity, one of the deepest consolations in all moments
of spiritual doubt.

As regards the ideas these young men brought to the regeneration of
English art, we may see at the base of their artistic creations a
desire for a deeper spiritual value to be given to art as well as a
more decorative value.

Pre-Raphaelites they called themselves; not that they imitated the
early Italian masters at all, but that in their work, as opposed to
the facile abstractions of Raphael, they found a stronger realism
of imagination, a more careful realism of technique, a vision at
once more fervent and more vivid, an individuality more intimate
and more intense.

For it is not enough that a work of art should conform to the
aesthetic demands of its age: there must be also about it, if it
is to affect us with any permanent delight, the impress of a
distinct individuality, an individuality remote from that of
ordinary men, and coming near to us only by virtue of a certain
newness and wonder in the work, and through channels whose very
strangeness makes us more ready to give them welcome.

LA PERSONNALITE, said one of the greatest of modem French critics,
VOILE CE QUI NOUS SAUVERA.

But above all things was it a return to Nature - that formula which
seems to suit so many and such diverse movements: they would draw
and paint nothing but what they saw, they would try and imagine
things as they really happened. Later there came to the old house