Cave Thomas, who so infelicitously christened “The Germ,” had gained a prize in the Westminster Cartoon competition, and was the painter of one very beautiful picture, “The Protestant Lady,” exhibited in the Academy, and greatly admired by the Brotherhood. He published in 1860 a monograph entitled “Pre-Raphaelitism Tested by the Principles of Christianity;” and subsequently became art professor to the Princess of Wales. Mr. Frederick Sandys was not personally known to the leading Pre- Raphaelites until 1857, and was by that time too original and accomplished an artist to be claimed by them as a disciple, but his work was for some time intimately associated with theirs. He was to the last a valued friend of Rossetti, who always affirmed that while in draughtsmanship he had no superior in English art, his imaginative endowment was of the richest and rarest kind. Mr. Henry Wallis is justly remembered by his one great picture, “The Death of Chatterton,” which touched popular feeling as its true pathos and dignity deserved to do, and won universal praise. Mark Anthony is rightly regarded by the Pre-Raphaelites as the most poetic of their landscape painters. His grandly simple and reposeful “Old Churchyard” will compare even with Millais’s “Vale of Rest,” and his “Nature’s Mirror” with Mr. Burne-Jones’s “Mirror of Venus” in later years. Mr. John Brett, now famous in seascape, was for some time intimate with the Brotherhood; and among friends and sympathizers on a similar footing may be mentioned Val Prinsep, Thomas Seddon, J.D. Watson, J.F. Lewes, W.S. Burton, Spencer Stanhope, M.F. Halliday, James Campbell, J.M. Carrick, Thomas Morten, Edward Lear, William Davis, W.P. Boyce, J.W. Inchbold, and, by no means least, John Hancock, a young sculptor who won an Art Union prize in 1848 with a bas-relief of “Christ’s Entry into Jerusalem.” He was a friend and fellow-worker with Woolner, and fell so far (with Rossetti) under the fascination of the Dante legends as to accomplish a very fine statue of “Beatrice” in or about 1852. One other artist of the first rank in his generation remains to be named,—Frederick Shields, an intimate and warmly-loved friend of Rossetti, cherished by him in close and unbroken companionship even to the hour of death; and in point of critical estimate pronounced by him to be one of the greatest of living draughtsmen, taking rank with Sir Frederick Leighton, Sir Noel Paton, and Mr. Sandys.