I believe, were Royal Academy students who were invited down by Rossetti. Their work was naïve and queer to the last degree. It is perhaps not fair to say which one of them found so much difficulty in painting the legs of his figures that he drew an impenetrable covert of sunflowers right across his picture, and only showed the faces of his heroes and heroines between the golden disks. The _Oxford and Cambridge Magazine_, which also dates from the year 1856, is a still more notable expression of budding genius than the dome of the Oxford Union. It was edited by Mr. Godfrey Lushington, all its articles were anonymous, and it contrived to exist through twelve consecutive monthly numbers. A complete set is now rare, and the periodical itself is much less known than befits such a receptacle of pure literature. It contains three or four of Rossetti's finest poems; a great many of those extraordinary pieces, steeped in mediæval coloring, which Mr. William Morris was to collect in 1858 into his bewitching volume, called "The Defence of Guenevere;" several delightful prose stories of life in the Middle Ages, also by Mr. Morris, which, like certain prose romances by Mr. Burne-Jones, have never been publicly claimed or reprinted by their author; and not a little else that was as new as it was notable. A little later Mr. William Morris's first book was dedicated "To my Friend Dante Gabriel Rossetti, Painter," and in 1860 Mr. Swinburne followed with a like inscription of his first-fruits, his tragic drama of "The Queen-Mother." Thus in the course of a little more than ten years, Rossetti had become the centre and sun of a galaxy of talent in poetry and painting, more brilliant perhaps than any which has ever acknowledged the beneficent sway of any one Englishman of genius.