in a letter to the newspaper compared Holman Hunt's art to that of Dürer. Thenceforth Ruskin was the chief public champion of Holman Hunt and his school (cf. his Præraphaelitism, 1851). Holman Hunt soon included Ruskin among his closest friends, and their affection for each other lasted till death. Holman Hunt's 'Valentino' was exhibited a second time in 1851 at the Liverpool Exhibition, where it won the premium of 50l. offered for the 'most approved painting.' It was bought in 1854 by (Sir) Thomas Fairbaim, who became another sympathetic patron and whoso portrait Holman Hunt painted in 1874. The 'Valentine ' was resold in 1887. In the course of 1851 Holman Hunt and Millais spent some time at Ewell, near Epsom, afterwards removing to Worcester Park Farm. Each painted backgrounds for important pictures. Holman Hunt was beginning his 'Hireling Shepherd' and 'The Light of the World,' both of which were completed slowly at his Chelsea studio. 'The Hireling Shepherd' was finished in time for exhibition at the Royal Academy
in 1852. Carlyle, Hunt's neighbour at Chelsea, had seen 'The Hireling Shepherd' in the studio, and had declared it to be 'the greatest picture he had seen painted by any modern man.' It was hung on the line, and ultimately passed to Manchester Art Gallery, while a replica became the property of Sir William Agnew [q. v. Suppl. II]. During that year he worked hard on three very different subjects. 'daudio and Isabella' illustrated a scene from Shakespeare's 'Measure for Measure,' which after exhibition at the Academy in 1853 won a Liverpool prize of 50l. (it is now in the possession of Mrs. Ashton). 'Our English Coasts, 1852,' a study of the Downs near Hastings, was also exhibited at the Royal Academy in 1853 ; it was subsequently renamed 'Strayed Sheep,' and became the property of George Lillie Craik, The third picture, 'New College Cloisters, 1852,' was shown at the Academy of 1853 ; it is at Jesus College, Oxford.
In 1854 Holman Hunt still further increased bis reputation by sending to the Academy two of his best pictures, 'The Awakened Conscience' and 'The Light of the World.' The former was bought by (Sir) Thomas Faurbaim. 'The Light of the World ' was acquired for 400 guineas by Thomas Combe, and in 1872 was presented by his widow to Keble College, Oxford. Ruskin in letters to 'The Times' wrote admiringly of the ethical and spiritual significance of both the paintings of 1854. He attributed to Holman Hunt a religions passion new to English art. In later years Holman Hunt was grieved by injury done to 'The Light of the World' owing to what he regarded as want of care at Keble College. He therefore painted the subject again on a life-size scale in 1904. The second version was purchased by Mr. Charles Booth, who arranged for its exhibition in the chief colonial cities and finally presented it to St. Paul's Cathedral, where it now hangs. Engravings and reproductions have made the original version one of the most familiar of modern pictures.
Holman Hunt's growing success enabled him in the meantime to carry out a project which had been slowly forming itself in his mind, to visit Palestine and treat sacred subjects among their actual surroundings. He resolved, he said, to find out with his own eyes what Christ was like.
Leaving England in January 1854 for two years, he travelled to Palestine by way of Paris, Malta, Egypt and Jaffa. At Cairo Thomas Seddon [q. v.] joined him. Settling down in Jerusalem, he soon began the well-known painting 'The Finding of the Saviour in the Temple,' which he finished six years later. Then, encamping on the western shore of the Dead Sea, he started on 'The Scapegoat.' Much other work was designed, and he made numberless studies of Jewish types and of the natural scenery. He explored the Holy Land with thoroughness, and formed useful friendships with English and other European tourists. At the close of 1855 he travelled from Beyrout to the Crimea, by way of Constantinople. In February 1856 he was again in London. The P.R.B. was then practically in a state of dissolution as a brotherhood but remained an ever-increasing force as a body of principles.
Holman Hunt settled for a time in Pimlico (49 Claverton Street). There he worked on designs for the illustrated edition of Tennyson's Poems for which Moxon the publisher had already enhsted the services of Millais, Rossetti, Maclise, Mulready, Stanfield, and others. Hunt undertook six drawings, including 'The Lady of Shalott,' 'Haroun al Raschid,' and 'Oriana.' Long afterwards, in 1886 he happily repeated his design for 'The Lady of Shalott' in oil. The edition of Tennyson was published in May 1857. Tennyson criticised Holman Hunt's interpretation of his 'Lady of Shalott,' but the artist who met the poet at Mrs. Prinsep's residence. Little Holland House, was soon on good terms with him, visiting him at Farringford, m the Isle of Wight, in
