Brown, Ford Madox, a Painter whose works may, for the most part, be fairly classed with the Pre-Raphaelite school, though some of them preceded its distinct establishment, was born at Calais, of English parents, in 1821. His career as a student was pursued chiefly in Belgium and Paris, and some of his earlier works are a good deal tinged with continental qualities. It was not till 1844 that he took a decided step as an exhibitor in England, by sending two cartoons to the competition of that year in Westminster Hall. Though certainly among the most powerful, they were not found in the list of rewarded works; their somewhat daring realism being perhaps a little in advance of the year 1844. He was equally suc- cessful and unsuccessful, in different senses, with another cartoon and a fresco in the following year. It is very pleasing to find in the Diary of Haydon, who had a keen eye—none keener—for new facts in the Art of his day, a tribute to Madox Brown's fresco of this year, as the finest speciment of that difficult method in the Hall. The painter now visited Italy, and seems to have arrived at that shifting period of an artist's life which gives birth to transitions in style, as we do not find him making any very prominent appearance in our galleries till 1848, when he sent the fine picture of to the newly-opened Gallery in Hyde Park. where also, in the following year (1849, the first definite year of Pre-Raphaelitism), he exhibited —one of his most characteristic works—and In 1850, his only exhibited work was a “historical portrait” of Shakspeare. At the Royal Academy in 1851 he produced his large picture of which had been several years in progress. This subject is worked out with all Madox Brown's peculiar qualities of style, and is probably more brilliant and truthful in effect of out-door light than any other painter has attempted to make a work on so large a scale. It appeared also in the Paris Exhibition of 1855. At the Royal Academy, in 1852, was first seen his truly noble picture of (which in 1856 gained the prize of the Liverpool Academy, and in 1857 was among the works of the British School at Manchester), and the rather peculiar little subject entitled much ridiculed at the time by many who could not appreciate its elaborate and successful study of sunlight in the open fields. Next to these pictures came the in 1853, since which year the painter has not exhibited publicly. The collection of Pre-Raphaelite works in Russell Place, in 1857, afforded, however, ample proofs that he had not been idle in the interval. There was the a truly historical picture, drawn from the life of our own times, and illustrating Australian emigration. This is, in our opinion, Madox Brown's finest work hitherto. In the same collection were various remark- ably truthful and well-studied landscapes, a branch of art to which Mr. Brown has of late years given much attention. The principal among these, an is such a landscape as could only be produced by one whose mind revelled in colour and rich combination of material. The specially English—and modern English—character of this artist's later works, seems to indicate a new phase of thought in him, and awakens great interest in his future career.