Curiously enough, until this time it had never occurred to the members that their society was without a name. The fact having been accidentally discovered, it was resolved to adopt as style and title, "The Artists' Society for the Study of Historical, Poetic, and Rustic Figures." From time to time the number of evenings devoted to study was gradually increased, until every week-day evening was occupied. Further developments had in the meantime taken place. In 1841, on the suggestion of William J. Müller, the study of the antique was included in what we may call the curriculum. This involved the renting of another room (the society was still in its mews) at a cost of £25 a year. About the same time the study of the nude was introduced, and became henceforth a leading feature of the society. In 1838 an attempt had been made to form a society for ladies, in conjunction with the Artists' Society, "for the study of costume and the draped figure," but although started with some _éclat_, it appears before long to have ended without regret a brief and forlorn existence. We soon begin to come across historical names. In 1835 Haydon presents the society with a drawing of "The Gate Beautiful," by Raphael, made by his pupil, C. Landseer. Mr. D. V. Riviere is elected, also a Mr. F. Cruikshank, though he appears never to have attended. Two years later Mr. E. Corbould becomes a subscriber, and in the year following, the well-known watercolourist, Frank W. Topham, and Mr. W. Riviere. In 1839 Dodgson and Lee were elected subscribers; and the same year the veteran Louis Haghe, still living, was made president. [Illustration: JOHN ABSOLON. _From the Picture by G. G. Kilbourne_] During these early years courses of lectures on various subjects connected with art were given by competent gentlemen. Mr. W. R. Toase, F.L.S., discoursed on "Anatomy," illustrated by living models; Mr. Benjamin R. Green lectured on "Perspective"; Mr. C. H. Smith, on the "Importance of Trifles in Historical Design"; Mr. George Foggo, on "Pictorial Composition"; and last, though not least, a Mr. R. Cull (one fancies there should have been an "s" to this name), on "Phrenology as Applicable to Art." At that time phrenology was in high favour, was patronized by the great and the learned, and generally regarded as going to do wonders. Many artists in those days, Blake and Linnell among the number, devoted some attention to it; but now, with the exception of one leading Academician, it would be difficult to find any artist who had given so much as a passing glance at the science: if they had, we should at least have been spared the sight of such monstrosities of heads as we now see.