Man, woman and children are gathered beneath the shadow of the Tree. On the one side is a garden of flowers, and on the other a harvest of corn. Along the margin of the earth is the inscription:—“In Mundo pressuram habebitis; sed confidite; ego vici mundum.” (“In the world ye shall have tribulation; but be of good cheer; I have overcome the world.”) The painting is carried out in a very low key of colour, and a kind of austere and grave conventionalism restrains the sweeping outlines and the sober light. The accessories of the landscape are of the simplest character; no extraneous detail intrudes upon the perfect harmony of the at-one-ment; no over-elaboration mars the calm of that absolute resignation, that unquenchable hope. The Christ upon the Cross is at once the interpretation of the mystery of pain, and the covenant of a complete redemption wherein man at last “shall see of the travail of his soul and shall be satisfied.” ----- Footnote 7: Rev. P.F. Forsyth: “Religion in Recent Art.” Footnote 8: The Round Table Series: “Rossetti,” by P.W. Nicholson. CHAPTER VII. TREATMENT OF MEDIÆVAL AND MODERN ROMANCE. The Christian Element in Neo-Hellenism and Romance—“How They Met Themselves” and “Michael Scott’s Wooing”—Mediævalism and Romantic Love—“Romeo and Juliet” and “Ophelia”—Millais’s Romantic Landscapes— “The Woodman’s Daughter,” “The Blind Girl,” “The Vale of Rest,” “Autumn Leaves”—Keats’s “Isabella”—Tennyson’s “Mariana” and “Idylls of the King”—The Idea of Retribution—“King Arthur’s Tomb,” “Paolo and Francesca,” “Death of Lady Macbeth,” “The Awakening Conscience,” “Hesterna Rosa,” “The Gate of Memory,” “Found,” “Psyche,” “Proserpine,” “Pandora”—The Idea of Duty—“The Hugenot,” “The Black Brunswicker,” “Claudio and Isabella”—Old and New Chivalry—“Sir Isumbras” and “The Rescue”—“The Merciful Knight”—“St. Agnes’ Eve”— Ideal and Platonic Love—“The Salutation of Beatrice,” “The Boat of Love,” “Beata Beatrix,” “Dante’s Dream,” “Our Lady of Pity.”