PRE-EMPTION LAW, United States. The first pre-emption act was passed 3 March 1801; it was a special act affecting the Symmes colonization scheme on the Miami River. Be tween that time and 1841 about 18 pre-emption acts were passed, all of a more or less special nature. The first general law was passed in 1830. That of 1841 granted, upon considera tions of residence and improvement, freedom of entry upon 160 acres of public lands to any person over 21 years of age, provided he was a citizen or had declared his intention to be come one. By act of Congress of 3 March 1891 the various pre-emption laws then in ex istence were repealed. All bona-fide claims or rights under them, however, were saved. There are now no pre-emption laws on the statutes of the United States. Consult Mallory, John A., comp., 'Compiled Statutes of the United States, Vol. II, pp. 1854-56 (St. Paul 1914).
the doctrine that the soul of an individual had an existence previous to that of the body in which it appears. This opinion was very prevalent in the East, and was held by the Greek philosophers, Pythagoras, Empedocles and Plato himself. A similar doctrine has found some countenance in Chris tian times among those who were anxious to explain how the soul becomes united to the body, but could not divine any more plausible hypothesis than that all souls were created before the world, and that each has its proper body allotted to it at the time of birth. In oppo sition to the doctrine of pre-existentism is that of traducianism, which teaches that the soul, like the body, is propagated; and creationism, in accordance with which a new soul is im mediately created out of nothing by God for each newly propagated body. Consult Midler, Julius,
members of the )Pre-Raphaelite Brotherhood) and their fol lowers. The original brotherhood was founded by the association of three painters, Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais_ The inspiration, however, which gave life to the Pre-Raphaelites was derived from an artist who never joined the brotherhood, Ford Maddox Brown. In 1848 Rossetti became the pupil of Ford Maddox Brown, a great and original artist whose work was quite neglected at a period when Victorian art in England had sunk to its lowest con dition of commonplace prettiness, convention ality and utter want of mysticism or spirituality.
Ford Maddox Brown, the practical originator of the new school of English painting, and the bringer-in of a new English Renaissance, had attracted the notice of Rossetti by his powerful picture, 'Parisina's Sleep,' which was exhibited at the British Institution 1845 and was con spicuous for marvelous atmosphere, finish and fidelity of expression. Rossetti became the devoted disciple of this master. Rossetti was a poet, full of dreams and desires, and passion ately striving after the true and the beautiful. At the academy schools he met William Hol man Hunt, a man of profound religious feeling, yet reserved, hard working and bound on not able and original achievement in art. With them was eventually associated John Everett Millais, already a brilliant and successful artist, and far in advance of his confreres of equal age in all the skill that come.; from knowledge and prac tice. These men, strangely different in artistic temperament, formed a powerful trio devoted to making a fearless protest against the shallow and insincere banalities of the day. They called themselves Pre-Raphaelites; but, as W. Holman Hunt has said, °Neither then nor afterward did they affirm there was not much healthy and good art after the time of Raphael; but it appeared to them that afterward art was so frequently tainted with the canker of cor ruption that it was only in the earlier work they could find with certainty absolute health. Up to a certain point the tree was healthy: above it, disease began; side by side with life, there was death." Their artistic doctrines were indeed to be summed up in the one word sincerity; the bond of union between them, as enunciated by one of their number, was (1) to have clear ideas to express; (2) to study Nature attentively, so as to know how to express them; (3) to sym pathize with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; and (4) most indispensable of all, to produce thoroughly good pictures and statues.