The six beautiful plates which the readers of THE QUIVER have the opportunity of acquiring, and the last coupon for which is contained in this number, are representative examples of the work of some of the most notable exponents of sacred art among modern British painters. The names of Leighton and Millais are now familiar in every household, and great interest attaches to the works from their hands included in this series of pictures. "The Star of Bethlehem," by Lord Leighton, was painted in 1862, when the artist was thirty-two years of age, and four years before his election as Associate of the Royal Academy. The main figure represents one of the magi on the terrace of his house, gazing at the miraculous light which led him and his fellows to search out Him, "who was born King of the Jews." "Christ in the House of His Parents" is one of the most wonderful pictures painted by Sir John Millais. It was exhibited at the Royal Academy in 1850, when the artist was but twenty years of age, and, as related in the article on "Pictorial Sermons" in our last number, aroused a storm of discussion among the critics. The work is a veritable parable in paint, and, as its allegories are all fully explained in the article referred to, we need not repeat them here. The picture has great interest, apart from this, as being one of the best specimens of the work of the artist's Pre-Raphaelite period. "Christ Washing Peter's Feet," by Ford Madox Brown, which was presented to the nation by a body of subscribers; and now hangs in the Tate Gallery at Millbank, is a typical painting, and one of the most beautiful examples of this artist's work. Exquisite in colour, it is a perfect specimen of what a picture dealing with a sacred subject should be. Full of reverence and piety, it yet illustrates the subject fully; the rugged figure of the apostle, expressing withal the penitence produced by the rebuking words, "If I wash thee not, thou hast no part with Me," contrasts strongly with the humility of the Master kneeling to His self-imposed task. "The Remorse of Judas," by the late Edward Armitage, R.A., is another picture to be seen at Millbank, and is, perhaps, one of the strongest works produced by this artist. The terror of remorse is expressed in every line of the face of the betrayer, while the cold indifference of the priests, now that their work is accomplished, is admirably portrayed. "The Raising of the Widow's Son of Nain," by W. C. T. Dobson, R.A., was shown at the Academy in 1868, and fully explains itself. The joy of the mother and the surprise of the beholders of the miracle are well rendered; but the main interest of the picture, of course, centres in the boy. His gaze is fixed upon Him whose voice has recalled him from the "valley of the shadow." The last picture of the series, by W. Dyce, R.A., was recently added to the national collection, and was removed from Trafalgar Square to Millbank when the new gallery was completed.