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294 ARTISTS AND AUTHORS works, the moral force and directness of which appeal to the heart at once. Per- haps the most brilliant piece of color at the Russell Place Gallery may have been Rossetti's " Blue Closet," a picture which either illustrated or, as I should rather suppose, suggested Mr. Morris's wonderful poem published two years later. The same year that displayed him to the public already surrounded by a brill- iant phalanx of painter-friends, discovered him also, to the judicious, as a centre of poetic light and heat. The circumstances connected with Rossetti's visit to Oxford a little earlier than this are too recent, are fresh in the memories of too many living persons of distinction, to be discussed with propriety by one who was not present. But certain facts are public, and may be mentioned. The Ox- ford Union still shows around the interior of its cupola strange, shadowy frescoes, melting into nothingness, which are the work of six men, of whom Rossetti was the leader. These youths had enjoyed no practical training in that particularly artificial branch of art, mural painting, and yet it seems strange that Rossetti him- self, at least, should not have understood that a vehicle, such as yolk of egg mixed with vinegar, was absolutely necessary to tempera, or that it was proper, in fresco-painting, to prepare the walls, and paint in the fresh wet mortar. They used no vehicle, they fixed their colors in no coat of plaster, but they threw their ineffectual dry paint on the naked brick. The result has been that their interest- ing boyish efforts are now decayed beyond any chance of restoration. It is im- possible, however, to ascend the gallery of the Oxford Union and examine the ghostly frescoes that are fading there, without great interest and even emotion. Of the young men who painted there under Gabriel Rossetti's eye, all have be- come greatly distinguished. Mr. Edward Burne-Jones, Mr. William Morris, and Mr. Spencer Stanhope were undergraduates at Oxford. Mr. Valentine Prinsep and Mr. Arthur Hughes, I believe, were Royal Academy students who were in- vited down by Rossetti. Their work was naive and queer to the last degree. It is perhaps not fair to say which one of them found so much difficulty in painting the legs of his figures that he drew an impenetrable covert of sunflowers right across his picture, and only showed the faces of his heroes and heroines between the golden disks. The Oxford and Cambridge Magazine, which also dates from the year 1856, is a still more notable expression of budding genius than the dome of the Oxford Union. It was edited by Mr. Godfrey Lushington, all its articles were anony- mous, and it contrived to exist through twelve consecutive monthly numbers. A complete set is now rare, and the periodical itself is much less known than be- fits such a receptacle of pure literature. It contains three or four of Rossetti's finest poems ; a great many of those extraordinary pieces, steeped in mediaeval coloring, which Mr. William Morris was to collect in 1858 into his bewitching volume, called " The Defence of Guenevere ; " several delightful prose stories of life in the Middle Ages, also by Mr. Morris, which, like certain prose romances by Mr. Burne-Jones, have never been publicly claimed or reprinted by their author ; and not a little else that was as new as it was notable. A little later Mr. William Morris's first book was dedicated "To my Friend Dante Gabriel