enforce personal independent endeavour, based upon close study of
nature, and to illustrate the like qualities shown in the earlier
school of art. It is more hortatory than argumentative, and is in
fact too short to develop its thesis--it indicates some main points
for reflection.

By W. Bell Scott: "Morning Sleep." This poem delighted us extremely
when Mr. Scott sent it in reply to a request for contributions. I
still think it a noticeably fine thing, and one of his most equable
pieces of execution. It was republished in his volume of "Poems,"
1875--with some verbal changes, and shortened, I think damaged.

By Patmore: "Stars and Moon."

By Ford Madox Brown: "On the Mechanism of a Historical Picture": Part
1, the Design. It is by this time a well-recognized fact that Brown
was one of the men in England, or indeed in Europe, most capable of
painting a historical picture, and it is a matter of regret that "The
Germ" came to an end before he had an opportunity of continuing and
completing this serviceable compendium of precepts. He had studied
art in continental schools; but I do not think he imported into his
article much of what he had been taught,--rather what he had thought
out for himself, and had begun putting into practice.

By W. M. Rossetti: "Fancies at Leisure." The first three of these
were written to _bouts-rimés_. As to No. 1, "Noon Rest," I have a
tolerably clear recollection that the rhymes were prescribed to me by
Millais, on one of the days in 1849 when I was sitting to him for the
head of Lorenzo in his first Praeraphaelite picture from Keats's
"Isabella." No. 4, "Sheer Waste," was not a _bouts-rimés_