Of the achievements of Madox Brown in the more obviously romantic and naturalistic fields, perhaps the best known is the intensely passionate and brilliant “Romeo and Juliet” parting at daybreak in the loggia to Juliet’s chamber. In the same category, though of various range and style, may be briefly mentioned “Waiting” (1855), a fine study of firelight and lamplight, which appeared in the Russell Place Pre- Raphaelite Exhibition of 1856, “The Death of Sir Tristram,” “King René’s Honeymoon,” the much earlier “Parisina and Manfred on Jungfrau,” and “The Dream of Sardanapalus,” a work of recent years. The romantic treatment of historical subjects is represented by the cartoons before mentioned, executed prior to 1848, and by such later compositions as “Cromwell Dictating to his Secretaries,” “Milton and Marvel,” and “Cromwell on his farm at St. Ives,” completed in 1873. Of his religious pictures perhaps the most familiar is the austerely beautiful “Entombment;” but it is not easy to excuse the discreditable oblivion permitted in this country to such paintings as “Jesus Washes Peter’s Feet,” “The Transfiguration,” “Our Lady of Good Children,” or “Elijah and the Widow’s Son;”—oblivion only too explicable by a single trait of national character: that the average Briton will accept any innovation of taste or doctrine that will allow him to take his pleasure with the least amount of intellectual disturbance, but he will never forgive the artist who calls upon him to _think_. Happily some worthier, though very far from adequate, recognition has been accorded to the almost colossal task of the painter’s later years—the great series of historical frescoes on the walls of the Town Hall, Manchester, commencing with the building of Manchester by the Romans, and bringing the history of the city pictorially down to the present day. Outliving many younger leaders of the Pre-Raphaelite movement, Madox Brown died on the 6th of October, 1893.