The other picture, No. 93, in the same room, is larger and more ambitious. It represents a carpenter's workshop, with a mechanic at each end of the long bench; one of these, a half-starved, hideous wretch, with hardly a trace of the human anatomy in his composition; and the other, a respectable and rather sagacious-looking person, with immeasurable legs. Behind the bench is a frightful old woman, of the lowest class; and before it another, younger, but repulsively ugly and vulgar, examining, in conjunction with the respectable workman--and with her brow knotted in an awful congeries of wrinkles up to her fiery hair--the hand of a little boy. This little boy, though plebeian and red-haired, is not unpleasing: he has apparently cut his hand while playing with some of the edge-tools lying about the shop; while his brother, a better-figured as well as better-behaved boy, with a hairy apron round him, is making himself useful in carrying a basin of some dark-coloured stuff--probably carpenter's glue. But let us see what the legend attached to the number says: 'And one shall say unto him, What are these wounds in thine hands? Then he shall answer, Those with which I was wounded in the house of my friends.'--Zechariah, xiii. 6. What does this mean? It means, innocent reader, that the piece we have described in its principal features is the Holy Family of the Pre-Raphaelites! This is their mode of going to nature, selecting nothing but the mean and repulsive, and rejecting nothing but poetical and religious feeling and common decency.