silhouette out of white paper and pasted on;) while as I gazed, and gazed again, at Leslie's Sancho Panza and his Duchess I pushed through the great hall of romance to the central or private apartments. Trafalgar Square had its straight message for us only in the May-time exhibition, the Royal Academy of those days having, without a home of its own, to borrow space from the National Gallery--space partly occupied, in the summer of 1856, by the first fresh fruits of the Pre-Raphaelite efflorescence, among which I distinguish Millais's Vale of Rest, his Autumn Leaves and, if I am not mistaken, his prodigious Blind Girl. The very word Pre-Raphaelite wore for us that intensity of meaning, not less than of mystery, that thrills us in its perfection but for one season, the prime hour of first initiations, and I may perhaps somewhat mix the order of our great little passages of perception. Momentous to us again was to be the Academy show of 1858, where there were, from the same wide source, still other challenges to wonder, Holman Hunt's Scapegoat most of all, which I remember finding so charged with the awful that I was glad I saw it in company--_it_ in company and I the same: I believed, or tried to believe, I should have feared to face it all alone in a room. By that time moreover--I mean by 1858--we had been more fully indoctrinated, or such was the case at least with W. J., for whom, in Paris, during the winter of 1857, instruction at the atelier of M. Leon Coigniet, of a limited order and adapted to his years, had been candidly provided--that M. Leon Coigniet whose Marius meditating among the Ruins of Carthage impressed us the more, at the Luxembourg (even more haunted by us in due course than the Pantheon had been,) in consequence of this family connection.