which shows the influence of Ford Madox Brown and Edward Armitage. In 1863 he executed a wall painting for the kitchen of Combe Abbey for the Earl of Craven. Moore was a regular exhibitor at the Grosvenor Gallery from 1877 onwards. In 1864, he exhibited at the Royal Academy a group in fresco, entitled The Seasons, which attracted notice from the graceful pose of the limbs in the figures, and the delicate folds of the draperies. In 1865, Moore exhibited at the Royal Academy The Marble Seat, the first of a long series of purely decorative pictures, with which his name will always be associated. Henceforth he devoted himself entirely to this class of painting, and every picture was the result of a carefully thought out and elaborated harmony in pose and colour, having as its basis the human form, studied in the true Hellenic spirit. From the mid-1860s onwards, Moore increasingly began to paint works of female figures in differing states of consciousness, often sleep. This can be seen in works ranging from Lilies (1866) to Dreamers (1879–82) to Midsummer (1887). These paintings relate sensory, bodily experience with consciousness itself, in ways aligned with the ideas of contemporary physiological psychologists like George Henry Lewes. Such depictions suggest Moore’s interest in the contemporary science of mind and experience, and he pursued related themes until his death. The chief charm of Moore's pictures lay in the delicate low tones of the diaphanous, tissue-like garments in which the figures were draped. The names attached to the pictures were generally suggested by the completed work, and rarely represented any preconceived idea in the artist's mind. Among them were such titles as A Painter's Tribute to Music, Shells, The Reader, Dreamers, Battledore, Shuttlecock, Azaleas. In so limited a sphere of art, Moore found his admirers among the few true connoisseurs of art rather than among the general public. His pictures were frequently sold off the easel before completion, but it was not till late in his life that he obtained what may be called direct patronage. He executed other important decorative works, like The Last Supper and some paintings for a church at Rochdale, the hall at Claremont, the proscenium of the Queen's Theatre, Long Acre, and a frieze of peacocks for Mr. Lehmann. Moore was of an independent disposition, and relied solely on his own judgment in matters both social and artistic. His