And yet, when it is examined, what is there to find fault with in this respect? Absolutely nothing. The artist set himself to paint from nature; the work appeals directly to the observant eye by its simple force; even the symbols are not intricate when carefully considered. The Child, whilst playing with the pincers in His father's workshop, has injured His hand on a rusty nail protruding from the wood on the bench. Joseph draws back the fingers to examine the wound (the symbolism of which is obvious enough), and Mary, with grief and motherly anxiety portrayed on every line of her face, seeks to soothe the Boy, and with a piece of linen prepares to bind up the hand. St. John is coming with a bowl of water with which to bathe the injury, and St. Anne leans forward to remove the tool which contributed to the hurt. On the ladder against the wall rests a dove--the emblem of peace--and through the open doorway can be seen a flock of sheep huddled close to a fence, emblematical of the faithful, the Church of Christ. Farther out in the meadow is a well--the well of Truth. [Illustration: (_Reproduced by permission from the Original Painting in the possession of the Liverpool Corporation._) RUTH AND NAOMI. (_By P. H. Calderon, R.A._)] The picture was painted on commission for Mr. Farrar, the well-known dealer, for the sum of £250--a large sum in those days for a work by a young man. This picture will form the subject of one of the fine art plates offered to readers of THE QUIVER, on conditions which are stated elsewhere in this number. Lord Leighton's well-known painting "The Star in the East," and the masterpieces of four other eminent artists, will also be included; the whole forming a set of sacred pictures, suitable for framing, of permanent value and interest for every Christian home as well as every Sunday school and mission hall. The other picture by Millais, which is reproduced as the frontispiece to this number, was based upon a drawing which the artist made for Messrs. Routledge, in 1853, for a series of "The Parables of our Lord." The painting, however, was not made until 1862, when it was exhibited at the Royal Academy. It was afterwards totally destroyed in a gas explosion at Baron Marochetti's house. The picture "Faith," by the late E. Armitage, R.A. (see page 391), is an excellent illustration of the passage, "For she said within herself, If I may but touch His garment, I shall be whole." The tragedy of the betrayal, and the perfidy of Judas, have been the subjects of innumerable pictures; and that of "Judas," by Henry Tidey, which we reproduce, is typical of many. The betrayer is represented here when leaving the house in which is being held the sacred feast on the night of the betrayal. The pose of the man reveals the shame which he is feeling; hesitating yet as to whether his fell purpose shall be accomplished. [Illustration: (_In the possession of Mrs. Noble._) JUDAS GOING OUT. (_By Henry Tidey._)]