The three founders of the association which Ford Maddox Brown had inspired were subse uently joined by Thomas Woolner, sculptor; James Collinson, painter, who eventually left the brotherhood; Walter Howell Deverell, painter; Frederick George Stephens, painter and art critic; and William Michael Rossetti, younger brother of Dante Rossetti, and like the latter, a poet. Ford Maddox Brown de clined to join simply because he disliked coteries, and it certainly was not he who gave the doctrine its name of Pre-Raphaelitism. But, as his own work was an embodiment of this artistic creed, so his association with the members of it was always close and his sympathy with their work enthusiastic. Millais remained in the brotherhood 10 years (1849 59) ; he then dropped out, became a fashionable portrait painter and famous for his power in painting children, and such textures as satin and velvet. W. Holman Hunt kept on an uncom promising adherent to the principles of the brotherhood. But before the work the Pre Raphaelites had to do was accomplished, they were compelled to run the gauntlet of criticism and ridicule from those whose system and method of painting they were attacking. In the Times of 5 May 1854 a letter appeared signed by John Ruskin, boldly praising and defending the new school. It is doubtful, however, whether Ruskin understood the principle of Pre-Raphaelitism, and it is a mistake to think that his writings gave the first suggestion for the formation of such a league.
Pre-Raphaelitism has become a permanent influence in English art. The generation of English artists which succeeded that in which Ford Maddox Brown lived has followed the guidance of the Pre-Raphaelites, either as to romantic motif, mystic religiousness or draw ing and technique; sometimes in all of these.
In certain quarters, 'however, there appeared a tendency in a somewhat perverted manner to carry out the traditions of the brotherhood, by an exaggerated medi.xvalism, a deliberate crude ness or grotesqueness of design and an in sistence on minute detail. The most impor tant English artists who were influenced by Pre Raphaelitism were: William Morris, W. S. Burton, M. J. Lawless, Robert Martineau, Walter Crane, Sir Edward Burne-Jones and E. De Morgan.
Bibliography.— Ruskin, John, phaelitism) (New York 1851) ; Young, Rev. E., (London 1857) ; Quilter, H., (Preferences in Art, Life and Literature' (London 1892) ; Wood, Esther, 'Dante Ros setti and the Pre-Raphaelite Movement) (Lon don and New York 1894) ; Destree, 0. G., 'Les Preraphaelites. Notes sur l'Art De coratif et la Peinture en Angleterre) (Bruxelles 1894) ; Rossetti, W. M., Rossetti: Pre-Raphaelitism) (New York 1899); Bate, P. H., 'The English Pre-Raphaelite Painters, their Associates and Successors) (London 1899) ; 'The Germ' (Facsimile reprint, London 1901) ; Hunt, W. H., 'Pre-Raphaelitism and the Pre Raphaelite Brotherhood' (New York 1905); Hueffer, F. M., 'The-Raphaelite Brotherhood' (London 1907) ; Hueffer, F. M., 'Memories and Impressions) (New York 1911) ; Wilde, Oscar, 'The English Renaissance) (in 'Essays and Lectures,) London 1913) ; Linton, John, 'The Cross in Modern Art' (London 1916).