of their delight. In the third of these studies the sea is fresher, lightly kindling under a low clear wind; at the end of a pier a boat is moored, and women in the delicate bright robes of eastern fashion and colour so dear to the painter are about to enter it; one is already midway the steps of the pier; she pauses, half unsure of her balance, with an exquisite fluttered grace of action. Her comrades above are also somewhat troubled, their robes lightly blown about by the sea-wind, but not too much for light laughter and a quivering pleasure. Between the dark wet stair-steps and piles of the pier the sweet bright sea shows foamless here and blue. This study has more of the delight of life than the others; which among three such may be most beautiful I neither care to guess nor can. They all have the immediate beauty, they all give the direct delight of natural things; they seem to have grown as a flower grows, not in any forcing-house of ingenious and laborious cunning. This indeed is in my eyes a special quality of Mr. Whistler's genius; a freshness and fulness of the loveliest life of things, with a high clear power upon them which seems to educe a picture as the sun does a blossom or a fruit.

It is well known that the painter of whom I now propose to speak has never suffered exclusion or acceptance at the hand of any academy. To such acceptance or such rejection all other men of any note have been and may be liable. It is not less well known that his work must always hold its place as second in significance and value to no work done by any English painter of his time. Among the many great works of Mr. D. G. Rossetti, I know of none greater than his two latest. These are