Charles Allston Collins, a son of William Collins, R.A., and brother of Wilkie Collins, painted for some time in the manner of the Pre- Raphaelites, but subsequently devoted himself to literature. His first exhibited picture, “Convent Thoughts,” in the Academy of 1850, shared with Millais’s “Christ in the House of His Parents,” the torrent of opprobrium showered on the innovators in that eventful year. Yet three of his works were accepted by the Academy the following season,—“Lyra Innocentium,” on a verse from Keble; representing a young girl in a white gown against a background of blue; “May in the Regent’s Park,” a wonderfully minute study of foliage, as if seen through a window opening close upon the trees; and “The Devout Childhood of Saint Elizabeth of Hungary,” calling to mind the treatment by James Collinson of the familiar renunciation-legend anent the same much-maligned saint. The Elizabeth of the “Childhood” is depicted as a homely-looking little girl of thirteen, kneeling at the iron-barred oaken door of a chapel in the Palace grounds. Her missal is laid on the doorstep beside her, and she is imagined, according to the account of her early piety, to be at prayer on the inhospitable threshold of the shrine to which she cannot for the moment gain access. Charles Collins acted as Millais’s model for “The Hugenot” and “The Black Brunswicker.” He married a daughter of Charles Dickens, who posed with him as the lady in the “Hugenot.” William L. Windus, a Liverpool artist and member of the Academy of that city, made his modest but genuine fame chiefly through his powerful romantic picture of “Burd Helen,” the “burd” or sweetheart of the Scottish border ballad, who swam the Clyde in order to avenge herself upon a faithless lover. The work was pronounced by Ruskin to rank second only in order of merit to Millais’s “Autumn Leaves” in the Royal Academy of 1856. He painted altogether some eight or ten pictures of a very earnest and imaginative kind, of which one of the finest was entitled “Too Late,” and represented a dying girl whose lover had forsaken her and returned too late for reparation. “The Surgeon’s Daughter” is also remembered as a composition of much chastened and subdued power. Windus ceased painting at an early age, and was lost sight of by the Brotherhood. Robert B. Martineau was a pupil of Holman Hunt, but painted, among some three or four pictures which constitute the brief total of his achievements, only one of striking merit,—“The Last Day in the Old Home,” which for sincerity and depth of feeling won considerable appreciation in 1865. His career was cut short by untimely death soon afterwards.