In the design for “The Lady of Shalott” Holman Hunt exhibits traces—very unusual for him—of the influence of Rossetti upon his own work. For pathetic dignity and sensuous grace, the entangled lady, girt about with the web of dreams, might well stand among Rossetti’s children, and not be detected as of other birth. Rossetti’s own “Lady of Shalott” is much less fair a type, and belongs to the earliest and most archaic manner of his Arthurian period. Much more characteristic of the painter’s individuality is Holman Hunt’s “Oriana,” a grave, strong woman like his later Madonnas, whose mien belies the conventional sex-theory which ascribes to man alone the “wisdom-principle,” and assigns to womanhood the principle of “love.” Rossetti, again, seems to have been largely influenced by Madox Brown in his illustration to “The Palace of Art,” save for the highly characteristic drawing of the girl at the organ, whose pose is almost identical with that of the dead Beatrice in “Dante’s Dream,” of a much later date. “Sir Galahad” is, however, entirely original in manner, and represents the best level of Rossetti’s Arthurian designs. It shows the knight halting, weary but not dispirited, at a wayside shrine, and bending with worn and yet resolute face over the holy water that awaits the pilgrim-worshippers. His horse, bearing the white banner marked with the red cross of sacred chivalry, stands at the gate, and a group of nuns are seen within, ringing the chapel bell. The facile simplicity and grace of Millais, who was more accustomed to the task of book-illustration than his collaborateurs, found favourable scope in “Edward Grey” and “The Day-dream,” in which the figure of the half-awakened girl in the Sleeping Palace is drawn with exquisitely tender charm. The edition, on the whole, probably tended to increase the reputation of the Pre-Raphaelites as draughtsmen, and to dispel some hard-dying illusions as to their distinguishing qualities in design, though its independent merits were not of exceptional mark. Only once again does Rossetti appear in the field of book illustration. In 1862 he executed two designs for the first volume of poems published by his sister, Miss Christina Rossetti, under the title of “Goblin Market.” These drawings (“Buy from us with a golden curl” and “Golden head by Golden head”) were followed in 1866 by two more of a similar character (“The long hours go and come and go,” and “You should have wept her yesterday”), to illustrate the second volume of poetry from the same pen, entitled, “The Prince’s Progress.”