drawn some of the most faithful aides-de-camp of the Pre-Raphaelite campaign. The poetry of Keats afforded at all events an inexhaustable treasure- house of subject-matter for the young painters, not only in their first efforts towards the romantic revival, but for many years then to come. “The Eve of St. Agnes,” for example, afterwards yielded the theme of the picture regarded by some critics as Millais’s greatest work, as well as of the first important painting by Holman Hunt, “The Flight of Madeline and Porphyro.” This was completed at Millais’s studio, at his home in Gower Street, early in 1848, and exhibited in the Royal Academy of that year; Millais having been at work meanwhile upon his “Cymon and Iphigenia.” It was not until the autumn of 1848 that a definite attempt was made to band together, in a common purpose and under a distinctive name, those of the little company of students and friends who were prepared to accept and follow openly the principle of fidelity to Nature in general and to the romantic conception of Nature in particular,—the conception, namely, of the physical world as the veil and vehicle of an immanent spirit, fateful, mysterious, and occult. An informal meeting was held at Rossetti’s studio, then at 83, Newman Street, and seven members enrolled themselves under the name of “The Pre-Raphaelite Brotherhood.” The union consisted of Rossetti, Millais, Holman Hunt, William Michael Rossetti, the younger brother of the painter, Thomas Woolner, F.G. Stephens, and James Collinson—the least stable of the Brotherhood and the first seceder from its ranks. In the Academy of that year a picture by Collinson had already been exhibited, entitled “The Charity Boy’s Début.” He was a painter of uncertain artistic _calibre_, and of a lethargic and mystical temperament; converted to Pre-Raphaelitism by the ardour of Rossetti, but shortly forsaking his art studies and joining the Roman Catholic communion with a view of qualifying for the priesthood. This ambition also was subsequently given up, and, thus vacillating between the church and the studio, his probation ended in no particular career. The remaining members of the Brotherhood—apart from the leading painters—may be said to represent the minor literature of the movement. F.G. Stephens and W.M. Rossetti have attained permanent distinction as art-critics, while Thomas Woolner, before winning his later fame as a sculptor, gave in the form of poetry his chief contribution to the early propaganda of the Brotherhood. The rules laid down as to method in painting,—such as, that every subject and accessory should be studied direct from nature, and from one model—do not seem to have been stringently enforced: indeed in one of Rossetti’s most rigidly Pre-Raphaelite pictures, “Ecce Ancilla Domini,” the face of the Virgin was avowedly painted from several models, while in that of the Angel the artist has produced a curious blending of his brother’s features with those of another sitter.