_Walter Crane_ has been far more successful in uniting the pre-Raphaelite conception with a sentiment for beauty formed upon the antique, Burne-Jones's "paucity of flesh and plenitude of feeling" with a measured nobility of form. Born in Liverpool in 1845, he received his first impressions of art at the Royal Academy Exhibition of 1857, where he saw Millais' "Sir Isumbras at the Ford." The chivalrous poetry of this master became the ideal of his youth, and it rings clearly throughout his first pictures, exhibited in 1862. One of these has as its subject "The Lady of Shalott" approaching the shore of her mysterious island in a boat, and the other St. George slaying the dragon. Meanwhile, however, he had come to know Walker, through W. J. Linton, the wood-engraver, for whom he worked from 1859 to 1862, and the former led him to admire the beauty of the sculptures of the Parthenon. After this he passed from romantic to antique subjects, and there is something notably youthful, a fresh bloom as of old legends, in these compositions, which recall the sculpture of Phidias. "The Bridge of Life," belonging to the year 1875, was like an antique gem or a Grecian bas-relief. At the Paris World Exhibition of 1878 he had a "Birth of Venus," noble and antique in composition, and of a severity of form which suggested Mantegna. The suave and poetic single figures which he delights in painting are at once Greek and English: girls, with branches of blossom, in white drapery falling into folds, and enveloping their whole form while indicating every line of the body. His "Pegasus" might have come straight from the frieze of the Parthenon. "The Fleeting Hours" at once recalls Guido Reni's "Aurora" and Dürer's apocalyptic riders. [Illustration: _Cameron, photo._ WATTS. HOPE. (_By permission of the Artist._)] [Illustration: _Pageant._ WATTS. PAOLO AND FRANCESCA. (_By permission of the Artist._)] [Illustration: _Cameron, photo._ WATTS. LOVE AND DEATH. (_By permission of the Corporation of Manchester, the owners of the picture._)]