the basis of nature until the end of the fifteenth century, or, more exactly, until the year 1508, when Raphael left Florence to paint in the Vatican in Rome. Since then everything had gone wrong; art had stripped off the simple garment of natural truthfulness and fallen into conventional phrases, which in the course of centuries had become more and more empty and repellent by vapid repetition. Was it necessary that the persons in pictures should, to the end of the world, stand and move just as they had done a thousand times in the works of the Cinquecentisti? Was it necessary that human emotions--love, boldness, remorse, and renunciation--should always be expressed by the same turn of the head, the same lift of the eyebrows, the same gesture of the arms, and the same folded hands, which came into vogue through the Cinquecentisti? Where in nature are the rounded forms which Raphael, the first Classicist, borrowed from the antique? And in the critical moments of life do people really form themselves into such carefully balanced groups, with the one who chances to have on the finest clothes in the centre? [Illustration: _Annan, photo._ PATON. THE RECONCILIATION OF OBERON AND TITANIA.] From this reaction against the Cinquecentisti and against the shallow imitation of them, the title pre-Raphaelite Brotherhood, and the secret, masonic sign P.R.B., which they added to their signatures upon their pictures, are rendered comprehensible. But whilst Dyce, to avoid the Cinquecentisti, imitated the Quattrocentisti, the title here is only meant to signify that these artists, like the Quattrocentisti, had determined to go back to the original source of real life. The Academy pupils Rossetti, Millais, and Holman Hunt, together with the young sculptor Thomas Woolner, who had just left school, were at first the only members of the Brotherhood. Later the _genre_ painter James Collinson, the painter and critic F. G. Stephens, and Rossetti's brother, William Michael Rossetti, were admitted to the alliance. [Illustration: HOLMAN HUNT. THE SCAPEGOAT. (_By Permission of Messrs. Henry Graves & Co., the owners of the copyright._)]