His imaginary world was peopled by women with pale faces and luxuriant auburn hair, pondering upon the mysteries of the universe.

Like Rossetti's 'Blessed Damozel,' they look out from the gold bar of heaven with eyes from which the wonder is not yet gone.
One of the best Pre-Raphaelite landscapes is the 'Strayed Sheep' of Holman Hunt.

The sheep are wandering over a grass hillside of the vividest green, shot with spring flowers, and every sheep is painted with the detail of the central sheep in Hubert van Eyck's 'Adoration of the Lamb.' The colouring is almost as bright and jewel-like as that of the fifteenth-century painters, for one of the theories of the Pre-Raphaelite Brotherhood was that grass should be painted as green as the single blade--not the colour of the whole field seen immersed in light and atmosphere, which can make green grass seem gray or even blue.
In Brett's 'Val d'Aosta,' another Pre-Raphaelite landscape, we look from a hill upon a great expanse of valley with mountains rising behind.
Every field of corn and every grassy meadow is outlined as clearly as it would be upon a map.

Every stick can be counted in the fences between the fields and every tree in the hedge-rows.

When we look at the picture we involuntarily wander over the face of the country.