The paintings of the Pre-Raphaelite Brotherhood and its associates shows several interwoven threads:
1. Narrative subjects based on literary works, chiefly by Shakespeare, Tennyson, and Keats usually concerning romantic, often tragic, love
- Millais, Larenzo and Isabella
- Millais, The Woodman's Daughter
- Millais, Mariana
- Hunt, Eve of St. Agnes
- Hughes, Eve of St. Agnes
- Millais, Ophelia
- Hughes, Ophelia
- Hughes, April Love
- Rossetti, First Anniversary of the Death of Beatrice
- Hunt, Rienzi
- Hunt, Claudio and Isabella
- Deverell, Twelfth Night
- Martineau, Kit's Writing Lesson
2. Hard-edge Realism combined with Hogarthian Symbolism and Satire
- Hunt, Awakening Conscience
- Hunt, The Hireling Shepherd
- Hunt, Strayed Sheep (Our English Coasts)
- Brown, Work
- Martineau, The Last Day in the Old House
3. Ruskinian Sacred Realism based upon Typological Iconography
- Collins, Berengaria's Alarm
- Millais, Christ in the House of His Parents
- Millais, The Blind Girl
- Rossetti, Girlhood of Mary
- Rossetti, The Annunciation
- Hunt, The Scapegoat
- Hunt, The Finding of the Saviour in the Temple
- Rossetti, Passover in the Holy Family
4. Historical or Literary Subjects with Religious Symbolism or Allusion
- Hunt, Early Christians Saving a Priest from the Druids
- Hunt, The Awakening Conscience
- Hunt, Rienzi
- Wallis, The Death of Chatterton
- Millais, Mariana
5. Religious Subjects without Typological Symbolism
- Hunt, The Light of the World
- Hunt, Awakening Conscience
- Collins, Convent Thoughts
- Brown, Christ Washing Peter's Feet
- Bowler, The Doubt: Can These Dry Bones Live?
Last modified 20 September 2004