_Henry Holliday_, who has of late devoted himself largely to decorative tasks, seems in these works to be the _juste-milieu_ between Burne-Jones and Leighton. And the youngest representative of this group tinged with religious and romantic feelings is _Marie Spartali-Stillman_, who lives in Rome and paints as a rule pictures from Dante, Boccaccio, and Petrarch, after the fashion of Rossetti. [Illustration: _L'Art._ WATTS. LADY LINDSAY. (_By permission of Lady Lindsay, the owner of the picture._)] Others, who turned to the treatment of antique subjects, were led by these themes more towards the Idealism of the Cinquecento as regards the form of their work; and in this way they lost the severe stamp of the pre-Raphaelites. In these days _William Blake Richmond_, in particular, no longer shows any trace of having once belonged to the mystic circle of Oxonians. The Ariadne which he painted in the old days was a lean and tall woman with fluttering black mantle, casting up her arms in lamentation and gazing out of those deep, gazelle-like eyes which Burne-Jones gave his Vivien. Even the scheme of colour was harmonised in the bronze, olive tone which marked the earliest works of Burne-Jones. But soon afterwards his views underwent a complete revolution in Italy. Influenced by Alma Tadema in form, and by the French in colour, he drew nearer to the academic manner, until he became, at length, a Classicist without any salient peculiarity. The allegory "Amor Vincit Omnia" is characteristic of this phase of his art. Aphrodite, risen from her bath, is standing naked in a Grecian portico, through which a purple sea is visible. Her maidens are busied in dressing her; and they are, one and all, chaste and noble figures of that classic grace and elegant fluency of line which Leighton usually lends to his ideal forms. In a picture which became known in Germany through the International Exhibition of 1891, Venus, a clear and white figure, floats down with stately motion towards Anchises. It is only in the delicate pictures of children which have been his chief successes of late years that he is still fresh and direct. Girls with thick hair of a _blonde cendrée_, finely moulded lips, and large gazelle-like eyes full of sensibility, are seen in these works dreamily seated in white or blue dresses against a red or a blue curtain. And the æsthetic method of painting, which almost suggests pastel work in its delicacy, is in keeping with the ethereal figures and the bloom of colour.