Speaking of this turning-point in Millais’s career, Mr. Ruskin said in 1857:—“The change in his manner from the years of ‘Ophelia’ and ‘Mariana’ to 1857 is not merely Fall; it is Catastrophe; not merely a loss of power, but a reversal of principle; his excellence has been effaced ‘as a man wipeth a dish—wiping it and turning it upside down.’” But the Pre-Raphaelite movement, so far from being at an end, was now only emerging from the first tentative phase of its activity. It had yet to be absorbed in a larger reformation, and to act thereby even more potently than if it had remained the specific crusade of a clique or faction. The difficulty which the historian finds at this crisis in the artistic career of Rossetti and his friends, and still more so in their subsequent developments,—the difficulty of defining strictly Pre- Raphaelite work, and of deciding as to who of the now rapidly expanding circle of painters may justly be claimed as Pre-Raphaelites, is itself evidence of the permeating force of the initial movement, and of the ready soil which was prepared for the dissemination of its dominant ideas. For the circle of literary and artistic aspirants, patrons, students, amateurs, and connoisseurs of many grades and varied gifts who now surrounded Dante Rossetti, included men whose names afterwards became honoured in fields of art quite untouched by Pre-Raphaelitism in its distinctive form, but imbued through their influence with fresh and quickening impulses of revival. One of the most poetic of the painters intimately associated with the Brotherhood was Arthur Hughes, who, though only eighteen at the time of its formation, took an active share in its practical work, and painted, according to its main tenets, with a rare facility and tender charm. He was born in London in 1832, passed through the Academy Schools without much recognition, but won cordial admiration among the limited company who could then appreciate his work, by his beautiful “April Love” in the Academy of 1854. He was also singularly successful at a later date in a subject from Keats’s “Eve of St. Agnes”—the source of inspiration for some of the finest work of the Pre-Raphaelite leaders at various times. Like Millais and several others of the band, he attained considerable popularity as an illustrator of books. His religious paintings, moreover, will demand attention among those of his more illustrious friends. “The Cottager’s Return” and “The Reaper and the Flowers” may be remembered, among others of his always graceful pictures, by those who recall the first decade of Pre-Raphaelite propaganda in public exhibitions. He sat as the model for the hero in Millais’s “Proscribed Royalist” of 1853.