In the following year Hunt exhibited the _British Family_, Millais, _The Carpenter's Shop_, and Rossetti the _Ecce Ancilla Domini_, and in 1851 were Hunt's _Two Gentlemen of Verona_ and three by Millais. The fury of the critics had now reached a point at which some notice had to be taken of it--as of a man in an apopleptic fit. That of the Times in particular:--"These young artists have unfortunately become notorious by addicting themselves to an antiquated style, false perspective, and crude colour of remote antiquity. We want not to see what Fuseli termed drapery "snapped instead of folded," faces bloated into apoplexy, or extenuated into skeletons; colour borrowed from the jars in a druggist's shop, and expression forced into caricature. That morbid infatuation which sacrifices truth, beauty, and genuine feeling to mere eccentricity deserves no quarter at the hands of the public." It was in disapproval of the tone of this outburst that the author of "Modern Painters" addressed his famous and useful letter to the _Times_, vindicating the artists, and following it up with another in which he wishes them all "heartily good speed, believing in sincerity that if they temper the courage and energy which they have shown in the adoption of their systems with patience and discretion in framing it, and if they do not suffer themselves to be driven by harsh and careless criticism into rejection of the ordinary means of obtaining influence over the minds of others, they may, as they gain experience, lay in our England the foundation of a school of art nobler than the world has seen for three hundred years."