So much being clear, I may say that there was a school of painting before Raphael of a very realistic and remarkable kind. This school came to existence a little after the true religious spirit of the Middle Ages had begun to weaken. It sought the emotion of beauty as well as the emotion of religion, but it did not yet feel the influence of the Renaissance in a strong way; it was not Greek nor pagan. It sought beauty in truth, studying ordinary men and women, flowers and birds, scenery of nature or scenery of streets; and it used reality for its model. It was much less romantic than the school that came after it; but it was very great and very noble. With Raphael the Greek feeling, the old pagan feeling for sensuous beauty, found full expression, and this Renaissance tone changed the whole direction and character of art. After Raphael the painters sought beauty before all things; previously they had sought for truth and sentiment even before beauty. Raphael set a fashion which influenced all arts after him down to our own time; for centuries the older painters were neglected and almost forgotten. Therefore Ruskin boldly declared that since Raphael's death Western art had been upon the decline and that the school of painters immediately before Raphael were greater than any who came after him. Gradually within our own time a new taste came into art-circles, a new love for the old forgotten masters of the fourteenth and fifteenth centuries. It was discovered that they were, after all, nearer to truth in many respects than the later painters; and then was established, by Rossetti and others, a new school of painting called the Pre-Raphaelite school. It sought truth to life as well as beauty, and it endeavoured to mingle both with mystical emotion. At first this was a new movement in art only, or rather in painting and drawing only, as distinguished from literary art. But literature and painting and architecture and music are really all very closely related, and a new literary movement also took place in harmony with the new departure in painting. This was chiefly the work of Rossetti, Swinburne, and William Morris. They tried to make poems and to write stories according to the same æsthetic motives which seem to have inspired the school of painters before Raphael. This is the signification of the strange method and beauty of those quotations which I have been giving to you from Swinburne's masque. They represent very powerfully the Pre-Raphaelite feelings in English poetry.