William Morris in the context of "Pre-Raphaelite"

The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles and subsequently spread across the British Empire and to the rest of Europe and North America.

Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. Some consider that it is the root of the Modern Style, a British expression of what later came to be called the Art Nouveau movement. Others consider that it is the incarnation of Art Nouveau in England.

Sir John Everett Millais, 1st Baronet PRA (UK: /ˈmɪleɪ/ MIL-ay, US: /mɪˈleɪ/ mil-AY; 8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7). Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–1852.

By the mid-1850s, Millais was moving away from the Pre-Raphaelite style to develop a new form of realism in his art. His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers including William Morris saw this as a sell-out (Millais notoriously allowed one of his paintings to be used for a sentimental soap advertisement). While these and early 20th-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late nineteenth-century art world, and can now be seen as predictive of the art world of the present.

Art Nouveau (/ˌɑːr(t) nuːˈvoʊ/ AR(T) noo-VOH; French: [aʁ nuvo] ; lit. 'New Art'), Jugendstil in German, is an international style of art, architecture, and applied art, especially the decorative arts. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academicism, eclecticism and historicism of 19th century architecture and decorative art.

One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19th century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ('total work of art') that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.

Exeter College (in full: The Rector and Scholars of Exeter College in the University of Oxford) is one of the constituent colleges of the University of Oxford in England, and the fourth-oldest college of the university.

The college was founded in 1314 by two brothers from Devon, Bishop Walter Stapledon and Sir Richard Stapledon, as an institution to educate clergy, and has been located on Turl Street since 1315. At its foundation Exeter was popular with sons of the Devon gentry, though it has since become associated with a much broader range of notable alumni, including Raymond Raikes, William Morris, J. R. R. Tolkien, Richard Burton, Roger Bannister, Alan Bennett, and Philip Pullman.

Sir Edward Coley Burne-Jones, 1st Baronet, ARA (/bɜːrnˈdʒoʊnz/; 28 August 1833 – 17 June 1898) was an English painter and designer associated with the Pre-Raphaelite Brotherhood's style and subject matter.

Burne-Jones worked with William Morris as a founding partner in Morris, Marshall, Faulkner & Co in the design of decorative arts. His early paintings show the influence of Dante Gabriel Rossetti, but by 1870 he had developed his own style. In 1877, he exhibited eight oil paintings at the Grosvenor Gallery, a new rival to the Royal Academy of Arts. These included The Beguiling of Merlin. The timing was right and he was taken up as a herald and star of the new Aesthetic Movement.

Guild socialism is an ideology and a political movement advocating workers' control of industry through the medium of trade-related guilds "in an implied contractual relationship with the public". It originated in the United Kingdom and was at its most influential in the first quarter of the 20th century. It was strongly associated with G. D. H. Cole and influenced by the ideas of William Morris.

The Pre-Raphaelite Brotherhood (PRB), later known as the Pre-Raphaelites, was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" partly modelled on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists and poets of the time, including Algernon Charles Swinburne, William Morris, Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones and John William Waterhouse.

The group sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. They rejected what they regarded as the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The Brotherhood believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". To the Pre-Raphaelites, according to William Michael Rossetti, "sloshy" meant "anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind". The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background. Christian themes were abundant.

Honouring individuals buried in Westminster Abbey has a long tradition. Over 3,300 people are buried or commemorated in the abbey. This Anglican church is generally a royal mausoleum. It features both coffins and urns. For much of the abbey's history, most of the people buried there besides monarchs were people with a connection to the church – either ordinary locals or the monks of the abbey itself, who were generally buried without surviving markers. Since the 18th century, it has become a prestigious honour for any British person to be buried or commemorated in the abbey, a practice much boosted by the lavish funeral and monument of Sir Isaac Newton, who died in 1727. By the end of the 19th century, so many prominent figures were buried in the abbey that the writer William Morris called it a "National Valhalla".