After the year 1850 Rossetti almost ceased to exhibit in picture galleries. A very few of his pictures, including the “Bocca Baciata” and a version of “Lucretia Borgia,” were thenceforth seen in the Hogarth Club, a small society of artists and amateurs to which he belonged, and others afterwards in the Arundel Club, which he joined in 1865. An important exception, however, was made to this rule of seclusion in 1856, when a small but highly representative Pre-Raphaelite Exhibition was opened at 4, Russell Place, Fitzroy Square. Among Rossetti’s contributions were the first water-colour draft of “Dante’s Dream,” already alluded to, and its pendant, “The Anniversary of the Death of Beatrice,” “Hesterna Rosa,” “The Blue Closet,” and “Mary Magdalene.” The other exhibitors were Millais, Holman Hunt, Madox Brown, Arthur Hughes, Charles Collins, William Davis, W.L. Windus, Inchbold, Seddon and Brett. The “Dante’s Dream” re-appeared at the Liverpool Academy in 1858, together with “A Christmas Carol,” and “The Wedding of St. George”; “Fair Rosamund,” and “The Farmer’s Daughter” (study for “Found”) went to the Royal Scottish Academy in 1862; and “Mary in the House of John” appeared at the Fine Art Society’s Galleries in 1879. A version of “Pandora,” in 1877 or 1878, and a lovely little water-colour, “Spring,” in 1879, were lent by their purchasers to the Glasgow Institute of Fine Arts; “Tibullus’s Return to Delia” was similarly lent to the Albert Gallery Exhibition at Edinburgh in 1877; and in 1881 the Loan Exhibition at the Royal Manchester Institution included four important water- colours—“Proserpine,” a “Lucretia Borgia,” “Hesterna Rosa,” and “Washing Hands;” and five oils—“Proserpine,” “Two Mothers,” “Joli Cœur,” “A Vision of Fiametta,” and “Water-Willow.” These instances complete the brief list of Rossetti’s pictures exhibited in public galleries during the lifetime of the artist. In the year 1854, the Pre-Raphaelite Brotherhood, already practically broken up by divergence of method in the leading painters, and changes of aim and sphere among the lesser lights of the revolutionary dawn, may be said to have been finally dispersed by the lamented death of Walter Deverell, and the departure of Holman Hunt for a lengthy sojourn in the East, there to paint directly from nature—according to the much boasted but oft-broken rule—the backgrounds and appurtenances of those Biblical subjects to which he was now strongly drawn. The death of Deverell at an early age was a heavy personal bereavement to Rossetti, and an occasion of genuine grief to all the Brotherhood, with whom he was exceedingly popular. Nor was the loss to art easily reparable, or the work of his surviving comrades unaffected by the removal of a painter of such singular purity and grace. He was a son of the Secretary of the Schools of Design, which were the precursor of the South Kensington Science and Art Department.