Portraits of the Brotherhood

These are the portraits of the three initial artists of the Pre-Raphaelite Brotherhood.

Portrait Of Holman Hunt

Portrait Of Millias

Portrait Of Rossetti

The Hireling Shepherd

The Hireling Shepherd (1851) By William Holman Hunt

Oil on canvas Size 76.4 x 109.5 cm

The Hireling Shepherd was painted as a snub at the Church

and highlights problems within the religion and its

congregation, which is represented by sheep, running astray

without spiritual guidance.

The shepherd represents the Protestant Church while the

shepherdess the Roman Catholic Church. The lamb on her

lap eating green apples, symbolise death.

'Isabella' by John Everett Millias

My person favourite Pre-Raphaelite painting is Isabella by John Everett Millias, I love the story it tells and the symbolism included in the painting. It is an Oil on Canvas. 103 x 142.8cm

The information provided by the Walker where it is exhibited is as follows:

'Isabella' was one of the first paintings made in the new Pre-Raphaelite style. It was begun shortly after the founding of the Pre-Raphaelite Brotherhood in 1848, when Millais was only 19.

The harshly brilliant colour combined with sharp detail, deliberately unbalanced composition and self-consciously angularity and flatness were all controversial features of Pre-Raphaelitism. The movement was loosely inspired by painting methods from early Italian painting, from the time before Raphael.

The subject was taken from a poem by John Keats, itself based on a story by the 14th century Italian writer Boccaccio. It tells of the love between Isabella, the sister of wealthy Florentine merchants, and their poor, low-born apprentice Lorenzo. The jealous brothers murder Lorenzo, but his body is found by Isabella. She cut off the head and buried it in a pot of basil which she watered with her tears.

The ending is hinted at in this painting by the pot of herbs in the background. There are also many other signs of the coming violence and tragedy. One of the brothers is angrily cracking nuts. He also aims a kick at Isabella's dog, whilst his own sleeps beneath his chair. Dogs are often used as symbols of loyalty and fidelity in paintings. The lovers are sharing a blood orange, signifying the later spilling of Lorenzo's blood.

The highly individualised faces include a portrait of Millais' friend and fellow Pre-Raphaelite Brother Rossetti (rear centre), drinking from a wineglass.

In summary these are the symbols that the painting contains:

• Pot of basil in the paintings background alludes to the ending of Keats poem in which Isabella hides Lorenzo's head.
• The blood orange being passed to Isabella is a hint both to passion and to the severing of Lorenzos head and spilt blood.
• The scowling tormenting bothers shows the violence that is about to unfold in the story.
• Some people have suggested that the shadow of the nutcracker and its placement may be a deliberate phallic reference.
• The families posture shows a tension and a growing unease within the family and the brothers opposite are fixated upon the exchange happening between the lovers.
• Passion flowers are growing up the arch behind Lorenzo and Isabella, their white petals symbolising the innocence of their affection towards each other.