covered with dusty papers, which are not moved once in six months, and an older Pembroke brother with rickety legs, for all daily uses—a despatcher for the preparation of lobsters and coffee, and an apparatus for the cooking of toast and mutton chops; such utensils and luxuries as these did not suffice for the well-being of Tom Towers. He indulged in four rooms on the first floor, each of which was furnished, if not with the splendour, with probably more than the comfort of Stafford House. Every addition that science and art have lately made to the luxuries of modern life was to be found there. The room in which he usually sat was surrounded by book-shelves carefully filled; nor was there a volume there which was not entitled to its place in such a collection, both by its intrinsic worth and exterior splendour: a pretty portable set of steps in one corner of the room showed that those even on the higher shelves were intended for use. The chamber contained but two works of art—the one, an admirable bust of Sir Robert Peel, by Power, declared the individual politics of our friend; and the other, a singularly long figure of a female devotee, by Millais, told equally plainly the school of art to which he was addicted. This picture was not hung, as pictures usually are, against the wall; there was no inch of wall vacant for such a purpose: it had a stand or desk erected for its own accommodation; and there on her pedestal, framed and glazed, stood the devotional lady looking intently at a lily as no lady ever looked before.
Our modern artists, whom we style Præ-Raffaellites, have delighted to go back, not only to the finish and peculiar manner, but also to the subjects of the early painters. It is impossible to give them too much praise for the elaborate perseverance with which they have equalled the minute perfections of the masters from whom they take their inspiration: nothing probably can exceed the painting of some of these latter-day
