The new artist was Holman Hunt. He was the son of a London warehouseman, with no inclination whatever for learning, so that it seemed simply a waste of time to send him to school. This continually repeated history of artists who seem to know nothing outside their brushes and colours, is astonishing, but it is true that artists for the most part must be regarded as artists, pure and simple, and not as men of even reasonably good intellectual attainments, and more or less this accounts for their low estate centuries ago. One does not associate "learning" and the artist. When we have such splendid examples as Dürer and two or three others we discuss their intellectuality because they are so unusual. Holman Hunt was like most of his brother artists in all but his art. He hated school and at twelve years of age was taken from it. His father wanted him to become a warehouse merchant like himself, and he began life as clerk or apprentice to an auctioneer. He next went into the employment of some calico-printers of Manchester. The designing of calicoes can hardly be called art, even if the department of design had fallen to Holman Hunt's lot and we have no evidence that it did, but he started to be an artist nevertheless, there in the print-shop. He found in his new place another clerk who cared for art; and this sympathy encouraged him to fix his mind upon painting more than ever. He used to draw such natural flies upon the window panes that his employer tried one day to "shoo away a whole colony of flies that seemed miraculously to have settled." This gave the clerks much amusement, and also attracted attention to Holman Hunt's genius. His very small salary was spent, not on his support, but in lessons from a portrait painter of the city. His parents did not like this, but they could not help themselves, and thus this greatest of the Pre-Raphaelites began his work. The Pre-Raphaelites were a little group of men who believed that artists were drawing too much on their imaginations, not painting things as they saw them, and that the painter had become incapable of close observation. He worked in his studio, did not get near enough to nature, and instead of trying to follow along this line, this group of men, with their new and partly correct ideas, meant to go back further than the great masters themselves and present an elemental art. This was a part of their scheme and partly it was justified, but of all the men who undertook to make a new school, Holman Hunt was the only one who remained, and will remain forever, a representative. He alone stuck to the original purpose of the group and developed it into a truly great school; so that it is he alone we need to know.