This point needs to be elaborated for the sake of clearing up any misapprehensions which might arise from his more or less erratic way of exhibiting his work. As an example, when he exhibited for the first time in 1864 in the gallery of the Royal Society of Painters in Water Colours, he showed the "Fair Rosamond," painted in 1862, with the "Annunciation" and "The Merciful Knight," both of which belong to 1863; but in 1865 he sent "A Knight and a Lady," finished just before the exhibition opened, "Green Summer," painted in 1863, and "The Enchantments of Nimue," which was one of the things he produced in 1861 while he was still frankly and unreservedly an imitator of Rossetti. Such an inversion in the order in which his works were set before the public might cause some perplexity to students of his art if they did not realise what was his custom in this matter. He exhibited in the gallery of the Royal Water Colour Society in 1869 a painting, "The Wine of Circe," which was not only the most important work he had produced up to that time but is also to be counted as one of the most admirable of all his performances; and he showed there in 1870 two other notable works, "Love Disguised as Reason" and "Phyllis and Demophoon." It was over this last painting that the dispute arose which led to his resignation of his membership of the Society; and one of the results of this dispute was that for a space of seven years hardly any of his pictures were seen in public. Indeed, the only things he exhibited during this period were a couple of water-colours, "The Garden of the Hesperides" and "Love among the Ruins," which appeared at the Dudley Gallery in 1873. Both were important additions to the list of his achievements, and the "Love among the Ruins" especially was a painting of exquisite beauty and significance. He repeated this subject in oil some twenty years later, because the original water-colour had been damaged somewhat seriously, and was not, as he considered, capable of repair.