date:  the Church was then re-named “San Petronio,” and this I believe is the only change of the least importance introduced into the reprint.  In December 1870 the tale was published in “The Fortnightly Review.”  The Rev. Alfred Gurney (deceased not long ago) was a great admirer of Dante Rossetti’s works.  He published in 1883 a brochure named “A Dream of Fair Women, a Study of some Pictures by Dante Gabriel Rossetti”; he also published an essay on “Hand and Soul,” giving a more directly religious interpretation to the story than its author had at all intended.  It is entitled “A Painter’s Day-dream.”

By W. M. Rossetti:  “Review of Clough’s Bothie of Toper-na-fuosich.”  The only remark which I need to make on this somewhat ponderous article is that I, as Editor of “The Germ,” was more or less expected to do the sort of work for which other “proprietors” had little inclination—­such especially as the regular reviewing of new poems.

By W. M. Rossetti:  “Her First Season:  Sonnet.”  As I have said elsewhere, my brother and I were at one time greatly addicted to writing sonnets together to bouts-rimes:  the date may have been chiefly 1848, and the practice had, I think, quite ceased for some little while before “The Germ” commenced in 1850.  This sonnet was one of my bouts-rimes performances.  I ought to have been more chary than I was of introducing into our seriously-intended magazine such hap-hazard things as bouts-rimes poems:  one reason for doing so was that we were often at a loss for something to fill a spare page.

By John L. Tupper:  “A Sketch from Nature.”  The locality indicated in these very spirited descriptive lines is given as “Sydenham Wood.”  When I was compiling the posthumous volume of John Tupper’s “Poems” which came out in 1897, I should, so far as merit is concerned, have wished to include this little piece:  it was omitted solely on the ground of its being already published.

By Christina Rossetti:  “An End.”  Written in March 1849.

By Collinson:  “The Child Jesus, a Record Typical of the Five Sorrowful Mysteries.”  Collinson, as I have already said, was hardly a writing man, and I question whether he had produced a line of verse prior to undertaking this by no means trivial task.  The poem, like the etching which he did for it, is deficient in native strength, nor is there much invention in the symbolical incidents which make it up:  but its general level, and several of its lines and passages, always appeared to me, and still appear, highly laudable, and far better than could have been reckoned for.  Here and there a telling line was supplied by Dante Rossetti.  Millais, when shortly afterwards in Oxford, found that the poem had made some sensation there.  It is 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