THE WATER-COLORISTS: About the beginning of this century a school of water-colorists, founded originally by Cozens (1752-1799) and Girtin (1775-1802), came into prominence and developed English art in a new direction. It began to show with a new force the transparency of skies, the luminosity of shadows, the delicacy and grace of clouds, the brilliancy of light and color. Cozens and Blake were primitives in the use of the medium, but Stothard (1755-1834) employed it with much sentiment, charm, and _plein-air_ effect. Turner was quite a master of it, and his most permanent work was done with it. Later on, when he rather abandoned form to follow color, he also abandoned water-color for oils. Fielding (1787-1849) used water-color effectively in giving large feeling for space and air, and also for fogs and mists; Prout (1783-1852) employed it in architectural drawings of the principal cathedrals of Europe; and Cox (1783-1859), Dewint (1784-1849), Hunt (1790-1864), Cattermole (1800-1868), Lewis (1805-1876), men whose names only can be mentioned, all won recognition with this medium. Water-color drawing is to-day said to be a department of art that expresses the English pictorial feeling better than any other, though this is not an undisputed statement. [Illustration: FIG. 100.--LEIGHTON. HELEN OF TROY.] Perhaps the most important movement in English painting of recent times was that which took the name of PRE-RAPHAELITISM: It was started about 1847, primarily by Rossetti (1828-1882), Holman Hunt (1827-), and Sir John Millais (1829-1896), associated with several sculptors and poets, seven in all. It was an emulation of the sincerity, the loving care, and the scrupulous exactness in truth that characterized the Italian painters before Raphael. Its advocates, including Mr. Ruskin the critic, maintained that after Raphael came that fatal facility in art which seeking grace of composition lost truth of fact, and that the proper course for modern painters was to return to the sincerity and veracity of the early masters. Hence the name pre-Raphaelitism, and the signatures on their early pictures, P. R. B., pre-Raphaelite Brother. To this attempt to gain the true regardless of the sensuous, was added a morbidity of thought mingled with mysticism, a moral and religious pose, and a studied simplicity. Some of the painters of the Brotherhood went even so far as following the habits of the early Italians, seeking retirement from the world and carrying with them a Gothic earnestness of air. There is no doubt about the sincerity that entered into this movement. It was an honest effort to gain the true, the good, and as a result, the beautiful; but it was no less a striven-after honesty and an imitated earnestness. The Brotherhood did not last for long, the members drifted from each other and began to paint each after his own style, and pre-Raphaelitism passed away as it had arisen, though not without leaving a powerful stamp on English