-2- the finality of Julia's return to the religious values of her upbringing. Though Ryder calls these values merely "preconditioning from childhood" and "all bosh" (290), Julia's position has already congealed. Thus, her wish to marry Ryder will be supplanted by her renunciation of him. Just as Holman Hunt's lover-pianist remains unaware of his companion's conversion, Waugh's lover narrator-himself a painter of the sort envisioned by Ruskin5-does not anticipate either his own religious conversion or the strength of Julia's resolve. Finally, Ruskin's description of The Awakening Conscience rather than the painting itself must be the standard of reference for Julia's emotions because the facial expression in the painting was revised subsequent to its original exhibition. According to Hunt, "the woman's head in its present condition is not exactly what it was when Ruskin described the picture.''' It is fitting that Waugh refers his readers to Ruskin's letter in the context where it includes Hunt's telling footnote. When revisited, Brideshead too is not "exactly what it was.'' Notes 'For Holman Hunt's painting, which has been reproduced frequently, see Wood, plate 143, p. 137. For a close view of the young woman's face, the portion of the canvas relevant to Julia's response, see Landow, plate 25, p. 52. For a reproduction of Red grave's painting, see Casteras and Parkinson, plate 99, p. 134. Wood views Redgrave's 1849 painting as "a forerunner of Holman Hunt's elaborate moral fable" (138); the compositions, however, differ significantly. As Hunt painted The Awakening Conscience during 1853, completing it in January of 1854, Thomas Brooks' painting, displayed at the Royal Academy in 1853, could arguably have influenced Hunt's thinking, even though the paintings differ in subject matter. 'PRB: An Essay on the Pre-Raphaelite Brotherhood 1847-1854, 25. However, Waugh's observations on the Pre-Raphaelites are disparaged as "inexcusably inaccurate" (xii) by Fleming. 3 Going writes that "Waugh's memory appears to have failed him here: the passage is not in Ruskin's pamphlet Pre-Raphaelitism (1852). Perhaps Waugh means for the Brideshead library to contain a copy of an anthology (1876), which reprinted the letter with Ruskin's permission" (p. 93, n. 8). The present note provides an alternative explanation. 41.418-19. That Waugh had read Hunt's Pre-Raphaelitism and the Pre-Raphaelite Brotherhood is evident from his citation of it in Rossetti: His Life and Works (e.g., 37). Elsewhere, Waugh concludes that Hunt would not have continued to paint without the influence of Ruskin's two letters to The Times (PRB 22-23). Ruskin's influence on Hunt as it relates to both art and religion is helpfully summarized by Landow (6-7). 'In his Pre-Raphaelitism, John Ruskin calls the "true duty" of the painter "the faithful representation of all objects of historical interest, or of natural beauty existent at the period" (quoted from The Crown of Wild Olive [244, italics his]). Charles Ryder's fulfillment of Ruskin's "true duty" is evident in his characterization of himself as "an architectural painter" with three books of English subjects to his credit (226-27). '1.418, n. 1. Hunt attributes the changes to the dissatisfaction of the owners, who felt "that the expression of the girl was painful" (1.418, n. 1). Nor was Hunt satisfied with the revision, as he claims that he was forced to return the painting to the owners before he wished to do so. Works Cited Casteras, Susan P., and Ronald Parkinson, eds. Richard Redgrave 1804-1888. New Haven and London: Yale UP, 1988. Cole, Mark. "A Haunting Portrait by William Holman Hunt." The Bulletin of The Cleveland Museum of Art 77 (December 1990):354-63. Fleming, G. H. Rossetti and the Pre-Raphaelite Brotherhood. London: Rupert Hart-Davis, 1967. Going, William T. "Pre-Raphaelitism in Brideshead Revisited." The Journal of Pre-Raphaelite Studies 7 (May 1987):90-93. Hunt, W. Holman. Pre-Raphaelitism and the Pre-Raphaelite Brotherhood. 2 vols. New York and London: MacMillan, 1905. 1.415-19. Landow, George P. William Holman Hunt and Typological Symbolism. New York and London: Yale UP, 1979. Ruskin, John. Letter to the Editor. The Times [London]. 25 May 1854. 7.6. -. The Crown of Wild Olive. Boston: Dana Estes, 1913. Stannard, Martin. Evelyn Waugh: The Early Years 1903-1939. New York and London: W. W. Norton, 1986. Waugh, Evelyn. Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder. Boston: Little, Brown, 1945. -. PRB: An Essay on the Pre-Raphaelite Brotherhood 1847-1854. N.p.: n.p., [1926]. -.Rossetti: His Life and Works. Longan: Duckworth, 1928. Rpt. Norwood, PA: Norwood Editions, 1979. Wood, Christopher. Victorian Panorama: Paintings of Victorian Life. London: Faber and Faber, 1976.