earnestness, and with an undoubted ability which must lead to a new era.  The writers may err somewhat at first, show themselves too defiant of prescriptive rules, and mistake extravagance for originality; but this fault (inherent in youth when, conscious of its powers, it first sets up for itself) will after a while work its own cure, and with experience will come soberer action.  But we cannot contemplate this young and rising school in art and literature without the most ardent anticipations of something great to grow from it, something new and worthy of our age, and we bid them God speed upon the path they have adventured.

But our more immediate purpose here is with the poetry, of which about one-half of each number is composed.  It is all beautiful, must of it of extraordinary merit, and equal to anything that any of our known poets could write, save Tennyson, of whom the strains sometimes remind us, although they are not imitations in any sense of the word. [The Reviewer next proceeds to quote, with a few words of comment, Christina Rossetti’s “Sweet Death,” John Tupper’s “Viola and Olivia,” Orchard’s “Whit-Sunday Morn,” and (later on) Dante Rossetti’s “Pax Vobis.”]

Almost one half of the April number is occupied with a “Dialogue on Art,” the composition of an Artist whose works are well known to the public.  It was written during a period of ill health, which forbad the use of the brush, and, taking his pen, he has given to the world his thoughts upon art in a paper which the Edinburgh Review in its best days might have been proud to possess.

Sure we are that not one of our readers will regret the length at which we have noticed this work.

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The short and unpretending critique which I add from “Bell’s Weekly Messenger” was written, I believe, either by or at the instance of Mr. Bellamy, a gentleman who acted as secretary to the National Club.  His son addressed me as editor of “The Germ,” in terms of great ardour, and through the son I on one occasion saw the father as well.

Art and Poetry. Nos.  I., II., and III.  London, Dickinson and Co.

The present numbers are the commencement of a very useful publication, conducted principally by artists, the design of which is to “express thoughts towards Nature.”  We see much to commend in its pages, which are also nicely illustrated in the mediaeval style of art and in outline.  The paper upon Shakespeare’s tragedy of “Macbeth,” in the third number, abounds with striking passages, and will be found to be well worthy of consideration.

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I now proceed to “The Guardian.”  The notice came out on August 20, 1850, some months after “The Germ” had expired.  I do not now know who wrote it, and (so far as memory serves me) I never did know.  The writer truly said that Millais “contributes nothing” to the magazine.  This however was not Millais’s fault, for he made an etching for a prose story by my brother (named “An Autopsychology,” or now “St. Agnes of Intercession"); and this etching, along with the story, had been expected to appear in a No. 5 of “The Germ” which never came out.  The “very curious but very striking picture” by Rossetti was the “Annunciation,” now in the National British Gallery.