thing can, the sense of colour, the sense of
form, the draughtsmanship, the immensely cultured eye and hand, first
discovered to the English critics by its predecessor. It was sold after
the painter's death.

Of certain other works painted in 1856, 1857, and 1858, some of which
never found their way to the Academy, little need be said. To this
period belong two pictures painted in Paris, the one, _Pan_ under a
fig-tree, with a quotation from Keats's "Endymion":

"O thou, to whom
Broad-leaved fig-trees even now foredoom
Their ripened heritage,"

and the other, a pendant to it, _A Nymph and Cupid_.

_Salome, the Daughter of Herodias_, painted in 1857, but apparently not
exhibited at the Academy, represents a small full-length figure in white
drapery, with her arms above her head, which is crowned with flowers;
behind her stands a female musician. Another, shown in 1858 at the Royal
Academy, and again in the 1897 retrospective exhibition, was first
entitled _The Fisherman and Syren_, and afterwards _The Mermaid_; it is
a composition of two small full-length figures, a mermaid clasping a
fisherman round the neck. The subject is taken from a ballad by Goethe:

"Half drew she him,
Half sunk he in,
And never more was seen."

In the same year was a painting inspired by "Romeo and Juliet," entitled
_Count Paris, accompanied by Friar Laurence, comes to the house of the
Capulets to claim his bride; he finds Juliet stretched, apparently
lifeless, on the bed_. The picture shows, in addition to the figures
named in its former title, the father and mother of Juliet bending over
their daughter's body, and through an opening beyond numerous figures at
the foot of the staircase.

The latter year marked the painter's return to London, where he entered
more actively into its artistic life than he had done hitherto, and made
closer acquaintance with the Pre-Raphaelites, who were already entering
upon their second and maturer stage. To take Rossetti: it was in 1856
that he made those five notable designs to illustrate "Poems by Alfred
Tennyson," which Moxon and Co. published in the following year; an event
that, for the first time, really introduced him to the public at large.
To 1857, again, belongs Rossetti's _Blue Closet_ and _Damsel of the
Sangrael_, both painted for Mr. W. Morris. And in 1857 and 1858, the
famous and hapless distemper pictures on the walls of the Union Debating
Society's room a