None of the pictures which can be assigned to the period when Millais was still a strict adherent to the Pre-Raphaelite creed can be said to surpass "The Vale of Rest" in depth and purity of feeling; and certainly none expresses better in its character and manner of treatment the artist's conception. The same exquisite sentiment, sincere and dignified, which distinguishes "Autumn Leaves" gives to "The Vale of Rest" an absorbing interest; and the way in which every detail of the composition and every subtlety in the arrangement and expression of the subject have been used to enhance the effect which the artist intended to produce, claims unqualified admiration.] Once started on his new direction as a painter he went forward with unhesitating confidence in his ability to realise his intentions, and as the years passed by he added picture after picture to the already large company of his successes. His admirers, surprised as they were at first by his startling change of manner, did not hesitate to accept what he had to offer; indeed the splendid vigour of his work brought him an immediate increase of popularity, and he was thenceforth recognised at home and abroad as one of the most commanding figures in the whole array of British art, as a leader whose authority was not to be questioned. In 1869 he exhibited his portrait of "Nina, Daughter of F. Lehmann, Esq.," "The Gambler's Wife," a "Portrait of Sir John Fowler," and "Vanessa," a companion picture to his "Stella;" and in 1870 "A Widow's Mite," "The Boyhood of Raleigh," and "The Knight Errant," with some other works of less importance. The portrait of Miss Lehmann is one of the pictures upon which his reputation most securely rests, admirable in its technical quality and its observation of character; and among the others "The Boyhood of Raleigh," and "The Knight Errant," are worthiest of attention because they are treated with great distinction, and have in large measure that interest which always results from judicious interpretation of a well-selected subject.