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Single aspect of our national art historian than much and We yet art, is more likely to depress the English people have always had so much so that a great deal of revered in the long galleries of country/houses, the halls of fame, because of either reverence for ancestry or and an awe^ struck regard for Important People (the outstanding examples of this feeling are in Hampton Coun Palace, the halls of Oxford colleges, and the National Portrait Gallery). The first President of the Royal Academy, Reynolds, was a portrait painter.

His early ambitions to to Sass's, managed he entered the Royal preconceptions. He 827, a year before Rossetti, 1 in the had been strongly opposed by independently, and When of Rossetti's. can surmise that it was in fact Rossetti who had more ideas; Hunt was the person who knew how to - again - appealed to his new friend for instruction. but there was no doubt that paint, and Rossetti This instruction certain coolness duced them, all, Hunt was pleased to give, but it between Brown and Hunt when for Rossettfs personal visibly shifted from one and inevitably led to a Rossetti artistic allegiances intro^ first had, after to the other.

Composition The space as flat all the imagine that the landscape wall is is way at right to a land^ ambiguous, across the angles to the 37 '5 tapestry, and thus parallel with the right-hand side of the table. In his attempt to reorganize pictorial space, Millais found that he was unable to accommodate the daring of his compositional method to the demands of naturalistic perspective. Holman Hunt's first attempt in the new mode was than Millais's, though he too was anxious ^6 tional style of his Eve of St Agnes.

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