[18] Mr. Richard Madox Bromley (afterwards Sir R. M. Bromley, K.C.B.) was a brother of Madox Brown’s first wife. He was employed in relief measures during the Irish famine. [19] The highly-distinguished landscape painter. [20] Hurlstone was then President of the Society of British Artists, Suffolk Street. [21] There were two brothers named Foggo, historical painters of much ambition and perhaps some intellect, but deplorably bad executants. I presume that the jingle “Fogo is no go” (or something of the sort), was current among artists at this date. [22] This is the Exhibition (then recently established) to which Brown contributed some of his early pictures--also Dante Rossetti his first two. Martin was not the celebrated painter John Martin, but a different painter, J. F. Martin. [23] Claxton was a painter, already mentioned; of Dibdin I know nothing. [24] This subject was painted, and was well received by the public. [25] A painter and book-illustrator. [26] I am sure this project was not carried out. [27] The Dickinsons, Printsellers in Bond Street, had established a Drawing Academy in Maddox Street. Foley must be the sculptor of that name. Paris and Salter were painters: the former is perhaps still remembered as the inventor of “Paris’s Medium.” [28] Brown was part owner of Ravensbourne Wharf, Greenwich. [29] This is probably an oil-study which I possess, and which must have been made with a view to the figure of an infant in the Wiclif picture. Lucy Brown was now turned four years old: in the painting she might pass for still younger. [30] A cousin of Brown’s. [31] This was some friend of Elizabeth Brown (Bromley), much of whose youth was spent abroad. I know nothing further about Miss Ensgrubber. [32] I don’t know what this project was; should suppose that it aimed at some pictorial decoration of the University building. [33] A matter unknown to me; I presume “Capbell” to be a mis-writing for “Campbell.” It would appear that Brown’s drawing was lithographed. [34] I suppose Inskip is practically forgotten now. He painted in a very broad method, with dark full-toned tints of brown &c.--gipsies, fisherfolk, and the like. [35] There was some family connection between Bamford and Brown; I have forgotten what. [36] Charles Robert Leslie, R.A.; he was now Professor of Painting at the Academy. [37] He was a solicitor. The Tan Yard is, I suppose, much the same thing as Ravensbourne Wharf. Brown did not, towards this date, sell his shares in it. [38] He seems rather to mean “French Republic.” [39] Fenton, after receiving an artistic training, took to photography. At the time of the Crimean war (1854-6) he went to the scene of action, and acquired some prominence. [40] A model much employed by artists towards this date. [41] Brown wrote “Schaff” (not Scharf): I suppose the designer who became Sir George Scharf, (or else his father, who was also an artist) is meant. Collingwood Smith and Oliver were water-colour landscapists.