After passing in review, then, the historic series of other nations, and examining the credentials of our earliest Academicians, we naturally enquire, on entering this more advanced English school of the nineteenth century, whence and how did it arise, to what masters does it owe dependence, how far is it of foreign origin, and to what extent indigenous? To Italy at least it would seem to claim little allegiance. At the outset we see at once, for example, that the modern pre-Raphaelite works, whatever be the theory of their origin, are practically, in their relation to past Italian art, a grotesque parody, evincing more self-will than humble historic teaching.
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