In the several paintings from Keats’s “Isabella”—that favourite subject of the early days of the Brotherhood—the contrast lies mainly in the direction of individual character; the tragedy, in the power of such character to work for evil against the good. Especially in Millais’s masterpiece, “Lorenzo and Isabella,” are the beauty and graciousness of Isabella and her lover set with a passionate intensity against the icy cynicism and sensuous brutality of the brothers and their guests, and the conflict is felt to be directly between malicious cruelty and innocent love. On the other hand the devotion and self-abandonment of Isabella’s thwarted passion find noble expression in the picture by Holman Hunt. The figure of the weeping girl, who has risen from her bed to worship at her strange and terrible shrine,—the Pot of Basil containing her murdered lover’s head, is seen in the early light of dawn, that almost quenches, in its pitiless coldness, the more tender light of the lamp that burns in the little sanctuary of secret love. The altar-cloth spread for the sacred relic is embroidered with a design of passion-flowers, and every accessory is symbolic of Isabella’s grief and despair. The same unique subject, it may here be noted, has inspired one of the finest paintings of an artist worthily representative of the younger generation of Pre-Raphaelites (if the name may be perpetuated beyond its immediate and temporary significance)—Mr. J.M. Strudwick; whose design, however, deals with the culmination of the tragedy, the theft of the Pot of Basil by the guilty brothers, and the on-coming madness of Isabella.