Our position is greatly altered. We have emerged from reckless abuse to a position of general and high recognition, just so much qualified by adverse criticism as suffices to keep our once would-be annihilators in countenance. I limit myself to the briefest recapitulation of last year’s public doings and our present state. Hunt, Millais, Stephens, and Woolner, exhibited at the R.A.--Hunt sent _The Hireling Shepherd_; Millais, _Ophelia_, and _A Huguenot on the Eve of St. Bartholomew_; Stephens, a small portrait of his Mother; Woolner, his cast for the competition monument to Wordsworth, and medallion heads of Carlyle, Wordsworth, and Miss Orme.[265] Gabriel exhibited three designs (water-colour) in the Exhibition of Sketches opened in December--_Giotto painting Dante’s Portrait_, _Beatrice denying Dante her Salutation_, and a _Lady in Venetian Costume_.[266] At present Hunt is preparing for next exhibition. He purposes exhibiting his old picture from _Measure for Measure_, _Christ at the Door_, a picture of Sheep commissioned by Maude, a portrait, and probably two others of which I shall be able to speak more certainly hereafter. Soon after sending in, he intends to go to Syria. Millais is painting two subjects of invention--one of the Stuart period,[267] the other named _The Ransom_. Gabriel has in hand a picture in two compartments,[268] symbolizing, in life-sized half-figures, Dante’s resolve to write the _Divina Commedia_ in memory of Beatrice. Woolner is absent from England since July last, having gone to the diggings in Australia, where he hopes to make money sufficient to enable him to return in a few years, and pursue sculpture with endurable prospects. Stephens is doing a portrait of his Father. I am still on _The Spectator_.