His election as an Associate of the Royal Academy came in 1885. That he coveted this particular distinction can scarcely be said; indeed, he was at first unwilling to accept it, and it was only in response to a personal request from Leighton that he finally decided to take his place in the ranks of the Associates. But he exhibited a picture at Burlington House in 1886, "The Depths of the Sea," and then, feeling that his work was unsuited for the Academy galleries, he sent nothing else there, and in 1893 resigned his Associateship. His contributions to the Grosvenor Gallery in 1886 were "The Morning of the Resurrection," "Sibylla Delphica," and "Flamma Vestalis"; and in 1887 "The Baleful Head," "The Garden of Pan," and some other canvases. After this year he ceased to exhibit at the Grosvenor Gallery, as he was one of the chief members of the group of artists who supported Mr. Comyns Carr and Mr. C. E. Hallé in the founding of the New Gallery, and he sent there nearly all the works he produced during the rest of his life. The most important exceptions were the magnificent "Briar Rose" series of pictures, which were shown in 1890 by Messrs. Agnew at their gallery in Bond Street, and "The Bath of Venus," which went straight from the artist's studio to the Glasgow Institute in 1888. The first exhibition at the New Gallery was opened in 1888, and it included several of his oil-paintings, among them "The Tower of Brass," an enlarged repetition of an earlier picture, and two canvases, "The Rock of Doom" and "The Doom Fulfilled," from the "Story of Perseus" series, to which also belonged "The Baleful Head," shown in the previous year. To the succeeding shows there he sent much besides that can be taken as representing his soundest convictions. There were the large water-colour, "The Star of Bethlehem," and the "Sponsa di Libano," in 1891; "The Pilgrim at the Gate of Idleness" and "The Heart of the Rose" in 1893; "Vespertina Quies" and the oil version of "Love among the Ruins" in 1894; "The Wedding of Psyche" in 1895; "Aurora" and "The Dream of Launcelot at the Chapel of the San Graal" in 1896; "The Pilgrim of Love" in 1897; and "The Prioress' Tale" and "St. George" in 1898. In all of these his consistent pursuit of definite ideals, his love of poetic fantasy, and his admirable perception of the decorative possibilities of the subjects he selected are as evident as in any of his earlier works; as years went on he relaxed neither his steadfastness of purpose nor his sincerity of method. To the last he remained unspoiled by success and unaffected by the popularity which came to him in such ample measure--it may be safely said that with his temperament and his artistic creed he would have continued on the course he had marked out for himself even if the effect of his persistence had been to rouse the bitterest opposition of the public, and he was as little inclined to trade on his success as