except as wholes. There is a very fine poem called "Repining" of
which this is particularly true. [Next comes a quotation of Christina
Rossetti's "Dream Land," and of a portion of Dante Rossetti's
"Blessed Damozel."] The last number contains a remarkable dialogue on
Art, written by a young man, John Orchard, who has since died. It is
well worth study. Kalon, Kosmon, Sophon, and Christian, whose names,
of course, represent the opinions they defend, discuss a number of
subjects connected with the arts. Each character is well supported,
and the wisdom and candour of the whole piece is very striking,
especially when we consider the youth and inexperience of the writer.
Art lost a true and high-minded votary in Mr. Orchard. [A rather long
extract from the "Dialogue" follows here.]

It is a pity that the publication is to stop. English artists have
hitherto worked each one by himself, with too little of common
purpose, too little of mutual support, too little of distinct and
steadily pursued intellectual object. We do not believe that they are
one whit more jealous than the followers of other professions. But
they are less forced to be together, and the little jealousies which
deform the natures of us all have in their case, for this reason,
freer scope, and tend more to isolation. Here, at last, we have a
_school_, ignorant it may be, conceited possibly, as yet with but
vague and unrealised objects, but working together with a common
purpose, according to certain admitted principles, and looking to one
another for help and sympathy. This is new in England, and we are
very anxious it should have a fair trial. Its aim, moreover, however
imperfectly attained as yet, is high and pure. No one can walk along
our streets and not see how debased and sensual our tastes have
become. The saying of Burke (so unworthy of a great man), that vice
loses half its evil by losing all its grossness, is practically acted