It was in the summer of 1858, Mr. F. G. Stephens tells us, that the original Hogarth Club was founded, of which the two Rossettis were prominent instigators,--one of the most notable of the many protestant societies that have sprung up at different times from a slightly anti-Academic bias. It is interesting to find that Leighton's famous _Lemon Tree_ drawing in silverpoint was exhibited here. The Hogarth Club held its meetings at 178, Piccadilly, in the first instance; removed afterwards to 6, Waterloo Place, Pall Mall, and finally dissolved, in 1861, after existing for four seasons. To speak of other painters more or less associated with Rossetti and his school, Mr. Holman Hunt, whose _Light of the World_ had greatly struck Paris in 1855, exhibited his _Scapegoat_ at the Academy of 1856, a picture which called from Mr. Ruskin immense praise, and a characteristic protest: "I pray him to paint a few pictures with less feeling in them, and more handling." Of Millais we have already spoken. In 1856 he exhibited _The Child of the Regiment_, _Peace Concluded_, and _Autumn Leaves_. In 1859 Leighton showed three pictures at the Academy. One, _A Roman Lady_ (then called _La Nanna_), a half-length black-haired figure, facing the spectator, in Italian costume; another, now called _Nanna_, then entitled _Pavonia_, a half-length figure of a girl in Italian costume, with peacock's feathers in the background; and _Sunny Hours_, which seems to have escaped record so far. The same year saw another of his pictures, _Samson and Delilah_, exhibited at Suffolk Street. We must not pass by the famous _Study of a Lemon Tree_ (now at Oxford), mentioned above, without quoting the praise by Mr. Ruskin, which made it famous. Mr. Ruskin couples it with another drawing, both of which we have been fortunately able to reproduce in our pages. These "two perfect early drawings," he writes, "are of _A Lemon Tree_, and another of the same date, of _A Byzantine Well_, which determine for you without appeal, the question respecting necessity of delineation as the first skill of a painter. Of all our present masters Sir Frederic Leighton delights most in softly-blended colours, and his ideal of beauty is more nearly that of Correggio than any seen since Correggio's time. But you see by what precision of terminal outline he at first restrained, and exalted, his gift of beautiful _vaghezza_." The _Lemon Tree_ study, let us add, was drawn at Capri in the spring of 1859. Here, and elsewhere in the South of Europe, whither the artist returned, escaping from London at every opportunity, many other notable studies and drawings were made during this period. Some of these were employed long since for the backgrounds of pictures familiar to us all. Others, faithful studies of nature, small oil and water-colour drawings, chiefly landscape, were scarce known to the general public during the painter's life, but were eagerly competed for at the sale of his pictures in July, 1896.