Pre-Raphaelitism and the pre-Raphaelite brotherhood . he Brotherhoodthat Woolner, although, in allusion to his mediasvalism, hehad habitually addressed him as the Arch Pre-Raphaelite,said, I wasnt going to humour his seriously makingsuch a preposterous claim, so I told him that it wasagainst all the known facts of the case. At whichhe became moody and displeased, and so went homealone. This is a sad page of my record, but infriendly combinations for a particular object suchrevulsions from harmony, which could not have beenforeseen, are in accordance with the experience of allages. In furnishin
Pre-Raphaelitism and the pre-Raphaelite brotherhood . he Brotherhoodthat Woolner, although, in allusion to his mediasvalism, hehad habitually addressed him as the Arch Pre-Raphaelite,said, I wasnt going to humour his seriously makingsuch a preposterous claim, so I told him that it wasagainst all the known facts of the case. At whichhe became moody and displeased, and so went homealone. This is a sad page of my record, but infriendly combinations for a particular object suchrevulsions from harmony, which could not have beenforeseen, are in accordance with the experience of allages. In furnishing my new house I was determined, asflir as possible, to eschew the vulgar furniture of theday. Articles for constant practical use were somewhatregulated by necessity ; but in the living rooms I couldexercise control. Por ordinary seats Windsor chairssatisfied me, but I kept these in countenance by ahandsome arm-chair of old English form, and devisedan ornamental scroll and shield, with my monogramto give it individuality. A more independent efi^ort. 136 PRE-RAPHAELITISM AND THE chaf. was the designing of a chair, based on the character ofan Egyptian stool in the British Museum, to serve as apermanent piece of beautiful furniture. All these wereexcellently made by Messrs. Grace ; to these was added thesideboard given by my generous friend, Augustus Egg,in recognition of my love of pure form in furniture. Incourse of time I added to these a Portuguese cabinet anda Spanish one for my studio. I had here to restrainfurther expenditure, still, I had done as much as I couldto prove my theory that the designing of furniture isthe legitimate work of the artist. When I showed mysmall group of household joys to my friends thecontagion spread, and Brown, who idolised the Et^yptianchairs, set a carpenter to work to make some of similarproportions. In showing them he proposed to introducehis newly-found carpenter to me as a much moreeconomical manufacturer than my own, able to make m
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