The year 848 to 850 was important regarding the arousal of science upon painting in France as well as with the budding of Pre-Raphaelite romanticism. Until 848, one could admire art in England, but could not be surprised by it. The basic tradition of the contemporary English painters lied mainly in the models, their ladies and young girls, rather than the brushwork (Sizeranne, 7). It was the Pre-Raphaelite Brotherhood that emerged into the domain of art and brought a new tradition. Pre-Raphaelitism, in the widest sense of the term, was the product of forces similar to those which inspired the romantic-realist emancipation from classicism on the Continent (Rothenstein, 4). The Pre-Raphaelite Brotherhood (PRB) were a group of artists (and poets, theorists, et al), founded in 848 by William Holman Hunt, Dante Gabriel Rossetti, John Everett Millais and F. G. Stephens to revitalize the art by rejecting the artificiality of the contem
porary art of the Royal Academy and injecting an innovative realistic approach into art. Apart from the twinkling stars of the PRB, there were a bunch of less-focused yet equally efficient artists such as John Brett, Ford Madox Brown, Walter Deverell, Richard Berchett, Edward Burne Jones etc who influenced the traditions of Pre-Raphaelite art significantly. Among them, probably the most significant figure was Walter Howard Deverell. Though personalities like Deverell were not talked of much, their artistic brilliance has captured the viewers heart era after era. This paper deals with an extensive study of Deverells one of the overall five creations, Rosalind Tutoring Orlando in the Ceremony of Marriage or The Mock Marriage of Orlando and Rosalind from Shakespeares As You Like It (Act 4 Scene ) and tries to establish how Deverell was a different as an artist from the rest of the mass and how he is a true Pre-Raphaelite Victorian.