But the year 1853 saw also the first outward signs of the breaking-up of the Pre-Raphaelite Brotherhood. Thomas Woolner, the oldest member of the Brotherhood, at this time twenty-eight years of age, being still unable to earn a living in London by his art, now determined to emigrate to Australia, where some friends of his family were already established at Melbourne, and to try his luck at the gold-diggings, which were at that time a source of much excitement and speculation in English circles. Woolner had already achieved some unpretentious but exceedingly thoughtful and conscientious work in sculpture, but he had not met with much academic recognition, nor with any substantial favour from the art- patronising public. For many years a pupil of Behnes, he entered the Academy Schools in 1842, and contributed a large composition of life- size figures representing “The Death of Boadicea” to the Westminster Cartoon Competition of 1844. His contributions to the Royal Academy exhibitions in Trafalgar Square had included “Eleanor Sucking the Poison from the Wound of Prince Edward” (1843), “Alastor” (from Shelley, 1846), “Feeding the Hungry” (bas-relief, 1847), “Eros and Euphrosyne” and “The Rainbow” (1848), and portraits of Carlyle and Tennyson. At the British Institution he had also exhibited a statuette of “Puck” (1847) and “Titania Caressing the Indian Boy” (1848). He sailed for Australia in the spring of 1853, accompanied by a promising young sculptor named Bernhard Smith (who died somewhat prematurely in 1885), and followed shortly afterwards by E.L. Bateman, another close sympathizer with Pre- Raphaelite aims. Woolner returned to England early in 1857, and then executed the fine bust of Tennyson recently placed in Poets’ Corner, Westminster Abbey. His later work, however, can hardly be classed with that of the Pre-Raphaelite band. He died on the 7th of October, 1892. In the summer of the same year the Brethren agreed to paint together a group of their own portraits, in order to send them over as a gift to their distant comrade on the gold-fields of the Antipodes. Accordingly, they met one day at Millais’s studio in Gower Street. There were present Dante and W.M. Rossetti, F.G. Stephens, Millais, and Holman Hunt. Mr. W.M. Rossetti, ranks the results in the following order of merit:—The portrait of Stephens by Millais, of Millais by Hunt, of W.M. Rossetti by Millais, of Dante Rossetti by Hunt, and of Hunt by Dante Rossetti.