The first fruits of the movement were seen in the following spring at the Academy where Millais, who was then, it must be remembered, not quite twenty, exhibited his "Lorenzo and Isabella," a picture striking in its originality and in its unusual power. What it implied was not, however, immediately realised by the public; that the manner of the painting made it very unlike those by which it was surrounded was generally recognised, but most people, if they thought about the matter at all, seem to have assumed that the painter had failed to bring himself into line with the art of his time through youthful inexperience rather than by deliberate intention. Time and practice, they considered, would correct such deficiencies in taste as were apparent in the "Lorenzo and Isabella," and when the lad had arrived at years of discretion he would be the first to see the necessity for amendment. But the members of the Brotherhood, probably feeling that their initial effort had not produced quite the effect intended, took other steps to define their attitude. They started, in January 1850, a magazine called _The Germ_, which was proffered as the organ of the new movement. It was sufficiently uncompromising in its confession of faith, and neither its text nor its illustrations were wanting in clearness of statement. The magazine, indeed, was what it was intended to be, an open challenge to all the advocates of the old order of things; and as such it was taken by the people who saw it. It was only in existence for four months, but even in that short time it did its work thoroughly, and put an end to any doubts there were in the minds of art lovers and art workers concerning the meaning of Pre-Raphaelitism; thenceforward Millais and his friends had certainly no reason to complain of being ignored. The attention which was given to the pictures they sent to the 1850 Academy exhibition was, however, by no means what they desired, though, doubtless, it must have been much what they expected. Millais exhibited a "Portrait of a Gentleman and his Grandchild," "Ferdinand Lured by Ariel," and "Christ in the House of His Parents"--better known as "The Carpenter's Shop"--and these visible embodiments of the principles laid down in _The Germ_ were received with an absolute storm of abuse. The audacity of the young painters who sought by works of this character to discredit the smug and artificial respectability of the art which was then in vogue excited the critics beyond control and brought forth a veritable orgie of virulent expostulation.