singular that Collinson should, throughout his composition, speak of
Nazareth as being on the sea-shore--which is the reverse of the fact.
The Praeraphaelites, with all their love of exact truth to nature,
were a little arbitrary in applying the principle; and Collinson
seems to have regarded it as quite superfluous to look into a map,
and see whether Nazareth was near the sea or not. Or possibly he
trusted to Dante Rossetti's poem "Ave," in which likewise Nazareth is
a marine town. My brother advisedly stuck to this in 1869, when I
pointed out the error to him: he replied, "I fear the sea must remain
at Nazareth: you know an old painter would have made no bones if he
wanted it for his background." I cannot say whether Collinson, if put
to it, would have pleaded the like arbitrary and almost burlesque
excuse: at any rate he made the blunder, and in a much more detailed
shape than in Rossetti's lyric. "The Child Jesus" is, I think, the
poem of any importance that he ever wrote.

By Christina Rossetti: "A Pause of Thought." On the wrapper of "The
Germ" the writer's name is given as "Ellen Alleyn": this was my
brother's concoction, as Christina did not care to figure under her
own name. "A Pause of Thought" was written in February 1848, when she
was but little turned of seventeen. Taken as a personal utterance
(which I presume it to be, though I never inquired as to that, and
though it was at first named "Lines in Memory of Schiller's Der
Pilgrim"), it is remarkable; for it seems to show that, even at that
early age, she aspired ardently after poetic fame, with a keen sense
of "hope deferred."

By F. G. Stephens (called "John Seward" on the wrapper): "The Purpose
and Tendency of Early Italian Art." This article speaks for itself as
being a direct outcome of the Praeraphaelite movement: its aim is to