Pre-Raphaelitism and the pre-Raphaelite brotherhood . ontinental, but it re-flected the best type of the fashion abroad ; and it wouldbe difficult to point to his definite teacher, though, whenCarbanels works were seen, it was impossible not to feelthat the same influence had affected both. The work ofboth may be classed as of courtly classical party in the Academy which had been most hostileto our movement at first greeted his work with loudacclamation of praise, but noting that the continuance ofthis generosity would involve them in danger of anotherinnovation on their humdrum
Pre-Raphaelitism and the pre-Raphaelite brotherhood . ontinental, but it re-flected the best type of the fashion abroad ; and it wouldbe difficult to point to his definite teacher, though, whenCarbanels works were seen, it was impossible not to feelthat the same influence had affected both. The work ofboth may be classed as of courtly classical party in the Academy which had been most hostileto our movement at first greeted his work with loudacclamation of praise, but noting that the continuance ofthis generosity would involve them in danger of anotherinnovation on their humdrum domains, they bestirredthemselves to oppose him also, and when these circum-venting members were in power they treated Leightonscontributions in a manner that would prevent them fromattracting attention. His pictures for a few years wereunequal, and occasionally he fell below the level of hisfirst work. Yet while feeling for new possibilities henever lost his way. His power might be compared tothat of an elegant yacht of dainty and finished capacity. jrirrt^y: J^JI^J. p-CfUT IL CJ-traur J<^. yoter^ THE NF ~^ VI PRE-RAPHAELITE BROTHERHOOD 145 for pleasure service, without pretensions to serve as atransport carrying men bent on tragic purpose, but oneto sail among summer islands and bring back daintycargoes ot beautiful flowers and fruits. He may eventu-ally win even greater recognition for some of his bestwork than he has yet gained. He deserves com-parison with the accomplished of any age, perhaps evenmore for his sculpture than for his painting. In his earlydays he had the advantage, seized most wisely, of hisfathers support, in the final years of his life it couldnot but be regretted that the weight of ofiicial dutiesinterfered with the full exercise of his genius. Loyaltyto innate classicalism was his religion, and in the end of thefifties it was still difficult to decide how far he woulddevelop. Once, when I went round to him at OrmeSquare, where he had six paintings rea
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