[After quoting from JLT's poem, 'A Sketch from Nature', the reviewer launches into his 'not altogether laudatory' examination of WHH's etching:]
The artist selects one of the most suggestive of his author's stanzas: he meditates--he muses--his thoughts are gone to dream-land also. The artist is a poet, but he is also an artist; he remembers this-- he seizes his etching point, and fixes the creatures of his imagination in all the intensity of action, or passion, due to 'High Art'. He now remembers that he had a previous idea that art should copy the simplicity of nature; so, to balance his exalted conception of the principal figures, he jots in two or three daisies, prim as ancient martens; a circular grove of trees, trim as a box flower border; and lambs which suggest to the beholder the expressive monosyllable Bah!
[This appraisal, which may be compared with that by Burne-Jones . . . is consistent with the reviewer's general assessment of Pre- Raphaelite principles:]
The projectors of the 'Germ' appear to have confounded Poetry and Art; and, in attempting to consider them as essentially one, have done violence to both. The poet jots down his impressions as the artist does his daisies, and the reviewer looks at the artificially- constructed hexameter, as a proper 'background' for simple ideas. The result of all this simplicity is a poetico-artistic Quakerism.