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seeds of rebellion were contained in what Henry James called ‘the first fresh fruits of the Pre-Raphaelite efflorescence’. The forming of the Pre-Raphaelite Brotherhood in 1848, a revolutionary year throughout Ku rope, gave rise from the start to detonations which shook the very foundations of the artistic Establishment and echoed down the years to the death of the Queen in 1901, and even beyond. Pre-Raphaelitism has been too often dismissed as a regrettable aberration in the English psyche, a brief period of madness, only redeemed by the tardy introduction of Impressionism by the New English Art Club. In fact, the influence of Pre-Raphaelitism, although its course is strewn with individual tragedies, was greatly beneficial. Apart from the qualified SIR FRANK DICKSEE, P.R.A. Harmony, (detail) Arched top. 62 X 37 inches. Signed and dated 1877. Fate Gallery, London. Exhibited at the Royal Academy in 1877. This picture achieved immense popularity at the time, and was bought by the Chantrey Bequest. At the Academy exhibition it was hung in the place of honour opposite Millais’s Teoman of the Guard. partisan, John Ruskin, many writers of some not otherwise known for being syn the movement, admitted as much. P. G. writing in 1889, noted that Pre-Raphael strong and beneficial reaction from indok to laborious analysis, and from mental i new' thought and emotion’. Another wi Shepherd, echoed these sentiments when h ‘The influence of the Pre-Raphaelite Sch( art of the last q uarter of a century has been 1 MWj).r>'