A more detailed picture emerges when we turn to America, where Ruskin had enormous influence and Pre-Raphaelitism was a familiar phenomenon. Two men in particular were respon- sible: William James Stillman (1828-1901), who took up the coeditorship of the magazine The Crayon in 1855, and Charles Eliot Norton (fig. 96), who was to hold the post of Professor of the History of Art at Harvard from 1875 to 1898. Stillman became acquainted with Burne-Jones when, having aban- doned art for diplomacy, moved to Europe, and married Marie Spartali, he sat for the head of Merlin in The Beguiling of Merlin (cat. no. 64). But the more important figure in this context is Norton. Already an ardent follower of Ruskin, whom he had recently met in Switzerland, Norton was intro- duced to Burne-Jones by the Brownings in 1856, and they remained on intimate terms until the artist's death forty-three years later. There is no doubt that Norton was in love with the whole Burne-Jones experience. "'The Grange,'" he wrote, "was quite the most enchanted ground in London. I wish it might remain so forever in reality as it will in my imagina- tion." 70 Whenever he was in England he would call on his hero, sometimes bringing American friends like James Russell Lowell to meet him. Meanwhile, in America he did everything he could to promote the artist's reputation, includ- ing lending pictures to the Pre-Raphaelite exhibition held in Philadelphia and New York in 1892. Indeed, Norton's advoca- cy of Ruskin and the Pre-Raphaelites was so wholehearted that it was almost counterproductive, causing some of his stu- dents to rebel. 71