Perhaps it was Rossetti, a fellow Pre-Raphaelite, who excelled Millais in painting what he saw. Rossetti’s _The Song of Solomon_, as regards brilliance, finish and the splendor of its lighting, “occupies a great place in the highest grade of modern art of all the world.” Even Holman Hunt, one of the lesser Pre-Raphaelites, is given over a full page, and is spoken of in glowing terms. “Perhaps no painter of the nineteenth century,” we read, “produced so great an impression by a few pictures” as did Hunt; and during the course of the eulogy the critic speaks of Hunt’s “greatness.” Can it be that the naïf gentleman who wrote Hunt’s biography has never heard of Courbet, or Manet, or of the Impressionists, or Cézanne? After so sweeping and unreasoned a statement as the one concerning the great impression made by Hunt’s pictures, such an extreme conclusion is almost inevitable. Or is this critic’s patriotic vanity such that he considers an impression made in England as representative of the world? Even to intimate that the impression made by Hunt’s pictures was comparable to that made by _L’Enterrement à Ornans_ or _Le Déjeuner sur l’Herbe_, or that the Pre-Raphaelites possessed even half the importance of Courbet and Manet, is to carry undeserved laudation to preposterous lengths. Here as elsewhere, superlatives are used in such a way in describing unimportant English painters that no adequate adjectives are left for the truly great men of other nationality. It would be difficult to find a better example of undeserving eulogy as applied to an inconsequent British painter than that furnished by Brangwyn, whose compositions, we are astonished to learn, have “a nobly impressive and universal character.” Such a statement might justly sum up the greatness of a Michelangelo statue; but here it is attached to the works of a man who at best is no more than a capable and clever illustrator. The foregoing examples by no means include all the instances of how English painters, as a result of the liberal space allotted them and the lavish encomiums heaped upon them by the _Encyclopædia Britannica’s_ editors, are unduly expanded into great and important figures. A score of other names could be mentioned. From beginning to end, English art is emphasized and lauded until it is out of all proportion to the rest of the world.