It is greatly to be regretted that there should be but an inconsiderable number of pictures in this last hall of the English gallery by Pre-Raphaelite artists. A little private exhibition of seventy-two pictures and drawings, by some twenty artists of this school, which was held in a small house in London, during the month of June, gave a far better view of what had been already accomplished by them, of the practical working out of their principles of Art, and of their present tendencies. Three men stand as the prominent leaders of the movement,--Rosetti, Hunt, and Millais. There is not a single picture by Rosetti at Manchester; but two (if we remember rightly) by Millais; and although there are several by Hunt, there are none of his latest works, nor the most powerful and beautiful of his comparatively early ones, the well-known Light of the World. Rosetti has never, we believe, exhibited in public. But whether he paint Dante led in a vision by Love to see Beatrice lying dead,--or the Angel leading King and Shepherd to adore the new-born Saviour, while the angelic choir in white robes stand around the manger in the night, singing their song of Peace and Good-will,--or Queen Guinever and Sir Lancelot meeting in the autumn day at King Arthur's tomb,--or Mary of Magdala flying from the house of revels, and clasping the alabaster box of ointment to her bosom,--or Ophelia redelivering to Hamlet his gifts of remembrance, while he strips the leaves from a rosetree as he breaks her heart,--or the young farmer, who, having driven his cart to London, and crossed one of the bridges over the black river, finds in the cold, wet morning his old love, long lost, now fallen at the side of the street, fainting against the dead brick wall of a graveyard; whether he paint these or other scenes, in all are to be found such sense of the higher truths of Nature and such faithful rendering of them, such force of expression, and such beauty of conception, as place them as works of imagination among the first that this age has produced. With equal fidelity to Nature, with a more definite moral purpose, perhaps with a more consistent steadiness of work, but with less delicate sense of beauty, and with imagination of a very different order, Hunt stands with Rosetti in the front ranks of Pre-Raphaelitism. The earnestness and directness of moral expression in most of his pictures is such as has for a long time been rare in Art. Art is with him a means of enforcing the recognition of truths often avoided or carefully concealed. Their powerful dramatic character compels the attention of the careless to his pictures. He paints Claudio and Isabella in the prison scene, and it is not merely a vivid rendering of the scene in its external features, but also a true rendering of the character of Claudio and Isabella, of the weakness of the coward, of the strength that dwells with the pure. His Awakened Conscience