Hunt and Rossetti, however, were not so steadfast in their adhesion to the agreement as to the choice of subjects from Keats. Hunt indeed planned, and probably commenced about this time, his afterwards notable picture, “Isabella and the Pot of Basil;” but this, though taking rank among the best examples of his earlier style, was not finally painted until 1867. He decided to finish, for the next Academy, a picture already in hand, “Rienzi swearing revenge over the body of his brother.” In this design the figure of Colonna, who endeavours to pacify the would-be avenger, was painted from W.M. Rossetti, while Dante Rossetti sat for the head of Rienzi,—and neglected, in spite of much urging from his comrades, to fulfil his own share in the “Isabella” project; but pursued work upon the most original and remarkable of his early pictures, “The Girlhood of Mary Virgin.” Prior to this, he had proposed, and partly sketched, a design entitled, “Retro me, Sathana,” representing a young girl walking, and earnestly reading, in a cloister, in the company of a venerable priest, while the retreating figure of Satan threatens her from the shade. This conception was never carried out; but it is probable that the now familiar sonnet bearing the same title was written about this time. The only painting of any note hitherto accomplished by Rossetti was a life-size and nearly half-length portrait of his father, finished in this same year 1848, and commissioned and bought by his godfather, Mr. Charles Lyell, of Kinnordy, Forfar, the father of the eminent geologist. This was the only male portrait Rossetti ever did in oils. In his new picture, “The Girlhood of Mary Virgin,” (called at first “The Education of the Virgin”) the face of the lovely child-angel was painted from a young half-sister of Woolner (though greatly modified, if not wholly re- painted, afterwards); while St. Joiachim was taken from an old family servant, and Saint Anna and St. Mary from Mrs. Rossetti and Miss Christina Rossetti respectively. In the spring of 1849 the Pre-Raphaelite Brotherhood held their first “private view” with three important pictures, Rossetti’s “Girlhood,” Hunt’s “Rienzi,” and Millais’s “Lorenzo and Isabella,” duly signed and monogramed with the initials P.R.B. after the painters’ names, ready for exhibition; the first appearing at the Free Gallery (formerly known as the Chinese Gallery), Hyde Park Corner, then under the management of the Association for Promoting the Free Exhibition of Modern Art, the other two at the Royal Academy, where they were favourably hung. Rossetti’s picture was sold to the Marchioness of Bath on “private view” day for £80, and Hunt’s “Rienzi” found a purchaser soon afterwards. “Lorenzo and Isabella,” sold for £100 in 1849, was bought in 1883 by the Corporation of Liverpool for £1,120.