By John Orchard:  “A Dialogue on Art.”  The brief remarks prefacing this dialogue were written by Dante Rossetti.  The diction of the dialogue itself was also, at Orchard’s instance, revised to some minor extent by my brother, and I dare say by me.  Orchard was a painter of whom perhaps no memory remains at the present day:  he exhibited some few pictures, among which I can dimly remember one of “The Flight of Archbishop Becket from England.”  His age may, I suppose, have been twenty-seven or twenty-eight years at the date of his death.  In our circle he was unknown; but, conceiving a deep admiration for Rossetti’s first exhibited picture (1849), “The Girlhood of Mary Virgin,” he wrote to him, enclosing a sonnet upon the picture—­a very bad sonnet in all executive respects, and far from giving promise of the spirited, if unequal, poetic treatment which we find in the lines in “The Germ,” “On a Whit-Sunday Morn in the Month of May.”  This led to a call from Orchard to Rossetti.  I think there was only one call, and I, as well as my brother, saw him on that occasion.  Afterwards, he sent this dialogue for “The Germ.”  The dialogue has always, and I think justly, been regarded as a remarkable performance.  The form of expression is not impeccable, but there is a large amount of eloquence, coming in aid of definite and expansive thought.  From what is here said it will be understood that Orchard was quite unconnected with the P.R.B.  He expressed opinions of his own which may indeed have assimilated in some points to theirs, but he was not in any degree the mouthpiece of their organization, nor prompted by any member of the Brotherhood.  In the dialogue, the speaker whose opinions appear manifestly to represent those of Orchard himself is Christian, who is mostly backed up by Sophon.  Christian forces ideas of purism or puritanism to an extreme, beyond anything which I can recollect as characterizing any of the P.R.B.  His upholding of the painters who preceded Raphael as the best men for nurturing new and noble developments of art in our own day was more in their line.  In my brother’s prefatory note a question is raised of publishing any other writings which Orchard might have left behind.  None such, however, were found.  Dr. W. C. Bennett (afterwards known as the author of “Songs for Sailors,” etc.), who had been intimate with Orchard, aided my brother in his researches.

By F. G. Stephens (called “Laura Savage” on the wrapper):  “Modern Giants.”

By Dante G. Rossetti:  “Pax Vobis.”  Republished by the author, with some alterations, under the title of “World’s Worth.”

By Dante G. Rossetti:  “Sonnets for Pictures.”  No. 1, “A Virgin and Child, by Hans Memmeling,” was not reprinted by Rossetti, but is included (with a few verbal alterations made by him in MS.) in his “Collected Works.”  No. 2, “A Marriage of St. Katherine, by the same.”  A similar observation.  No. 3, “A Dance of Nymphs, by Andrea Mantegna,” was republished