In September 1848, a group of seven men secretly banded together to create the "Pre-Raphaelite Brotherhood" or "PRB" (Whiteley 6). This group included: Gabriel Charles Dante Rossetti (1828-1882), John Everett Millais (1829-1896), William Holman Hunt (1827-1910), Thomas Woolner (1825-1892), William Michael Rossetti (1829-1919), James Collinson (1825-1881) and Frederick George Stephens (1828-1907). Although this movement lasted only a few years, these men moved the art establishment away from the stagnant rules of the Royal Academy by painting works that revitalized religious, moral, and romantic themes and made them more accessible; firmly rooted in human emotions and reality. The men of the Brotherhood sent accessible religious and textual messages by painting subjects, nature, and colors with meticulous attention to detail, focusing above all on truthfulness. Artists and non-artists united their mutual disgust with the rules of Britain's Royal Academy and joined forces to push art into an era that reflected the progress of science and the inherent beauty of nature. However, they did not accomplish all this alone. The social restrictions, inflexible morality and social conventions that prevailed in Victorian society had long since begun to erode with new scientific discoveries and developments during the late 1900s. Dark moral themes, influenced by 17th century Holland, and dark colors they had already begun to clear. The men of this group were simply able to exploit these revolutionary details and bring them to public attention, reflecting fluid movements beneath the fragile surface of Victorian society. Early Christian works, Germanic and Gothic works and “pure” Italian art (pre-Raffae...... middle of the sheet......n inevitable cycle of guilt for the suicide of his previous wife and his unfinished love towards Jane Burden, who had married another. The last member, Stephens, had never painted to begin with. Ultimately, the Brotherhood remained true to the general theme of reality: the Pre-Raphaelites had served their purpose in the art world. ushering in a new era that encouraged artists to move out of stifling classicism into the freshness of new art Now, the world would continue to move forward, even if they could not move with it. Works Cited Harding, James London: Academy Editions, 1977 Print.Hawksley, Lucinda. Essentials: Dempsey Parr, 1999. Print.Hilton, Timothy Oxford and the Pre-Raphaelites Oxford: Ashmolean Museum, 2004..