PRE-RAPHAELITISM (1851-1853) The _Times_, in May 1851, missed "those works of inspiration," as Ruskin had at last taught people to call Turner's pictures.

But the acknowledged mouthpiece of public opinion found consolation in castigating a school of young artists who had "unfortunately become notorious by addicting themselves to an antiquated style and an affected simplicity in painting....

We can extend no toleration to a mere servile imitation of the cramped style, false perspective, and crude colour of remote antiquity.

We want not to see what Fuseli termed drapery 'snapped instead of folded'; faces bloated into apoplexy, or extenuated into skeletons; colour borrowed from the jars in a druggist's shop, and expression forced into caricature....

That morbid infatuation which sacrifices truth, beauty, and genuine feeling to mere eccentricity deserves no quarter at the hands of the public." Ruskin knew nothing personally of these young innovators, and had not at first sight wholly approved of the apparently Puseyite tendency of Rossetti's "Ecce Ancilla Domini," Millais' "Carpenter's Shop," and Holman Hunt's "Early Christian Missionary," exhibited the year before.
All these months he had been closely kept to his "Sheepfolds" and "Stones of Venice"; but now he was correcting the proofs of "Modern Painters," vol.i., as thus: "Chapter the last, section 21: _The duty and after privileges of all students_....