[61] The detached figures of British Poets, which were (according to the original intention) to serve as wings to the large picture of _Chaucer at the Court of Edward III._ “The page” is a figure in the central composition. [62] The sketch, done some years before, of the _Chaucer_ composition. [63] Brown must have known Walter Howell Deverell through Dante Rossetti. Deverell was at this time a painter of some recognized promise, son of the Secretary to the Schools of Design. [64] This is, I suppose, a carefully finished little oil portrait, circular, which I possess. [65] Mr. Seddon (the father of Thomas and John Seddon) was a furniture-maker of high repute, carrying on business in Gray’s Inn Road. The statement that the portraits were done “for a sofa” means that a sofa was to be assigned to Brown as his remuneration. [66] I have little if any recollection of this figure of _The Lord Jesus_. Further on it appears that a lithograph, unsatisfactory to Brown, was made of the figure. [67] Mr. Samuel Carter Hall, the Editor of _The Art-Union (Art Journal)_. [68] The etching which was published in _The Germ_. [69] It will be observed that there is a great gap of time before this resumption of Diary--as referred to immediately afterwards. So far as I know, Madox Brown did not keep any record in the interim. I do not possess any, nor seemingly does Mr. Ford Hueffer. [70] Emma and Katy (or Cathy) are the second Mrs. Brown and her then infant Daughter, now Mrs. Francis Hueffer. [71] This centre compartment is the _Chaucer_ above-mentioned. [72] By “a very bad Deighton” Brown means a bad specimen of the work of a landscape-painter named Deighton. [73] A picture of a mother and child. [74] A professional model. [75] The landlady at Hampstead. [76] The work (substantially finished some years before) named _Our Lady of Saturday Night_, in which the Madonna is represented washing her infant. [77] Finchley. [78] White, whose name re-appears frequently in the sequel, was a well-established picture-dealer in Maddox Street, Regent Street. The picture here named _Winandermere_ is I think the same as that heretofore named _Windermere_, or a duplicate of it. [79] I possess a copy of this lithograph, and cannot regard it as in any serious sense a failure. [80] It seems to have come to nothing, as also the “lithotint of _Baby_.” [81] For the Great Exhibition of 1855. [82] As the picture stood at first, the figure of Christ was unclothed to the waist. [83] So in the MS.: I do not well understand the phrase. [84] “This one” means a new diary-book, which commences with the present entry. [85] No. 14 Chatham Place, Blackfriars; here Dante Rossetti had Chambers, where I also often passed the night. It was the last house on the Middlesex side of Blackfriars Bridge, right hand as one turns out of Fleet Street. The whole of Chatham Place was destroyed towards 1868. [86] I suppose he meant “composition” or “syntax.”