"See, thy son liveth," are the words in the Bible with which the hoary Elijah brings the boy, raised from death and still enveloped in his shroud, to the agonised mother kneeling at the foot of the sepulchre. The woman makes answer: "Now by this I know that thou art a man of God." In the embodiment of this scene likewise Madox Brown has aimed in costume and accessories at a complete harmony between the figures and the character of the epoch, and has set out with an entirely accurate study of Assyrian and Egyptian monuments. Even the inscription on the wall and the Egyptian antiquities correspond to ancient originals. At the same time the figures have been given the breath of new life. Elijah looks more like a wild aboriginal man than a saint of the Cinquecento. The ecstasy of the mother, the astonishment of the child whose great eyes, still unaccustomed to the light, gaze into the world again with a dreamy effort, after having beheld the mysteries of death--these are things depicted with an astonishing power. The downright but convincing method in which Hogarth paints the soul has dislodged the hollow, heroical ideal of beauty of the older historical painting. Madox Brown's confession of faith, which he formulated as an author, culminates in the tenet that truth is the means of art, its end being the quickening of the soul. This he expresses in two words: "emotional truth." While Holman Hunt and Madox Brown held fast throughout their lives to the pre-Raphaelite principles, pre-Raphaelitism was for _John Everett Millais_, the youngest of the three, merely a transitory phase, a stage in his artistic development.