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116 of emotion, with a habit of reverie. Not one of these beings is in a state of epanchement, not one is, or perhaps could be, thrown off its equipoise. They are, even the softest, characterized by entire though unconscious self-possession.

While looking at them would be always coming up in my mind the line,

Grace, grace always.

Mr. Allston seems to have an exquisite sensibility to colour, and a great love for drapery. The last sometimes leads him to direct our attention too much to it, and sometimes the accessories are made too prominent; we look too much at shawls, curtains, rings, feathers, and carcanets.

I will specify two of these pictures, which seem to me to indicate Mr. Allston’s excellences as well as any.

The Italian Shepherd boy is seated in a wood. The form is almost nude, and the green glimmer of the wood gives the flesh the polished whiteness of marble. He is very beautiful, this boy; and the beauty, as Mr. Allston loves it best, has not yet unfolded all its leaves. The heart of the flower is still a perfumed secret. He sits as if he could sit there forever, gracefully lost in reverie, steeped, if we may judge from his mellow brown eye, in the present loveliness of nature, in the dimly anticipated ecstasies of love.

Every part of nature has its peculiar influence. On the hilltop one is roused, in the valley soothed, beside the waterfall absorbed. And in the wood, who has not, like this boy, walked as far as the excitement of exercise would carry him, and then, with “blood listening in his frame,” and heart brightly awake, seated himself on such a bank. At first he notices everything, the clouds doubly soft, the sky deeper blue, as seen shimmering through the leaves, the fyttes of golden light seen through the