Hawthorne was close upon fifty years of age when he came to Europe—a fact that should be remembered when those impressions which he recorded in five substantial volumes (exclusive of the novel written in Italy), occasionally affect us by the rigidity of their point of view. His Note-Books, kept during his residence in England, his two winters in Rome, his summer in Florence, were published after his death; his impressions of England, sifted, revised, and addressed directly to the public, he gave to the world shortly before this event. The tone of his European Diaries is often so fresh and unsophisticated that we find ourselves thinking of the writer as a young man, and it is only a certain final sense of something reflective and a trifle melancholy that reminds us that the simplicity which is on the whole the leading characteristic of their pages, is, though the simplicity of inexperience, not that of youth. When I say inexperience, I mean that Hawthorne's experience had been narrow. His fifty years had been spent, for much the larger part, in small American towns—Salem, the Boston of forty years ago, Concord, Lenox, West Newton—and he had led exclusively what one may call a village-life. This is evident, not at all directly and superficially, but by implication and between the lines, in his desultory history of his foreign years. In other words, and to call things by their names, he was exquisitely and consistently provincial. I suggest this fact not in the least in condemnation, but, on the contrary, in support of an appreciative view of him. I know nothing more remarkable, more touching, than the sight of this odd, youthful—elderly mind, contending so late in the day with new opportunities for learning old things, and on the whole profiting by them so freely and gracefully. The Note-Books are provincial, and so, in a greatly modified degree, are the sketches of England, in Our Old Home; but the beauty and delicacy of this latter work are so interwoven with the author's air of being remotely outside of everything he describes, that they count for more, seem more themselves, and finally give the whole thing the appearance of a triumph, not of initiation, but of the provincial point of view itself.

I shall not attempt to relate in detail the incidents of his residence in England. He appears to have enjoyed it greatly, in spite of the deficiency of charm in the place to which his duties chiefly confined him. His confinement, however, was not unbroken, and his published journals consist largely of minute accounts of little journeys and wanderings, with his wife and his three children, through the rest of the country; together with much mention of numerous visits to London, a city for whose dusky immensity and multitudinous interest he professed the highest relish. His Note-Books are of the same cast as the two volumes of his American Diaries, of which, I have given some account—chiefly occupied with external matters, with the accidents of daily life, with observations made during the long walks (often with his son), which formed his most valued pastime. His office, moreover, though Liverpool was not a delectable home, furnished him with entertainment as well as occupation, and it may almost be said that during these years he saw more of his fellow-countrymen, in the shape of odd wanderers, petitioners, and inquirers of every kind, than he had ever done in his native land. The paper entitled "Consular Experiences," in Our Old Home, is an admirable recital of these observations, and a proof that the novelist might have found much material in the opportunities of the consul. On his return to America, in 1860, he drew from his journal a number of pages relating to his observations in England, re-wrote them (with, I should suppose, a good deal of care), and converted them into articles which he published in a magazine. These chapters were afterwards collected, and Our Old Home (a rather infelicitous title), was issued in 1863. I prefer to speak of the book now, however, rather than in touching upon the closing years of his life, for it is a kind of deliberate rÉsumÉ of his impressions of the land of his ancestors. "It is not a good or a weighty book," he wrote to his publisher, who had sent him some reviews of it, "nor does it deserve any great amount of praise or censure. I don't care about seeing any more notices of it." Hawthorne's appreciation of his own productions was always extremely just; he had a sense of the relations of things, which some of his admirers have not thought it well to cultivate; and he never exaggerated his own importance as a writer. Our Old Home is not a weighty book; it is decidedly a light one. But when he says it is not a good one, I hardly know what he means, and his modesty at this point is in excess of his discretion. Whether good or not, Our Old Home is charming—it is most delectable reading. The execution is singularly perfect and ripe; of all his productions it seems to be the best written. The touch, as musicians say, is admirable; the lightness, the fineness, the felicity of characterisation and description, belong to a man who has the advantage of feeling delicately. His judgment is by no means always sound; it often rests on too narrow an observation. But his perception is of the keenest, and though it is frequently partial, incomplete, it is excellent as far as it goes. The book gave but limited satisfaction, I believe, in England, and I am not sure that the failure to enjoy certain manifestations of its sportive irony, has not chilled the appreciation of its singular grace. That English readers, on the whole, should have felt that Hawthorne did the national mind and manners but partial justice, is, I think, conceivable; at the same time that it seems to me remarkable that the tender side of the book, as I may call it, should not have carried it off better. It abounds in passages more delicately appreciative than can easily be found elsewhere, and it contains more charming and affectionate things than, I should suppose, had ever before been written about a country not the writer's own. To say that it is an immeasurably more exquisite and sympathetic work than any of the numerous persons who have related their misadventures in the United States have seen fit to devote to that country, is to say but little, and I imagine that Hawthorne had in mind the array of English voyagers—Mrs. Trollope, Dickens, Marryat, Basil Hall, Miss Martineau, Mr. Grattan—when he reflected that everything is relative and that, as such books go, his own little volume observed the amenities of criticism. He certainly had it in mind when he wrote the phrase in his preface relating to the impression the book might make in England. "Not an Englishman of them all ever spared America for courtesy's sake or kindness; nor, in my opinion, would it contribute in the least to any mutual advantage and comfort if we were to besmear each other all over with butter and honey." I am far from intending to intimate that the vulgar instinct of recrimination had anything to do with the restrictive passages of Our Old Home; I mean simply that the author had a prevision that his collection of sketches would in some particulars fail to please his English friends. He professed, after the event, to have discovered that the English are sensitive, and as they say of the Americans, for whose advantage I believe the term was invented; thin-skinned. "The English critics," he wrote to his publisher, "seem to think me very bitter against their countrymen, and it is perhaps natural that they should, because their self-conceit can accept nothing short of indiscriminate adulation; but I really think that Americans have much more cause than they to complain of me. Looking over the volume I am rather surprised to find that whenever I draw a comparison between the two people, I almost invariably cast the balance against ourselves." And he writes at another time:—"I received several private letters and printed notices of Our Old Home from England. It is laughable to see the innocent wonder with which they regard my criticisms, accounting for them by jaundice, insanity, jealousy, hatred, on my part, and never admitting the least suspicion that there may be a particle of truth in them. The monstrosity of their self-conceit is such that anything short of unlimited admiration impresses them as malicious caricature. But they do me great injustice in supposing that I hate them. I would as soon hate my own people." The idea of his hating the English was of course too puerile for discussion; and the book, as I have said, is full of a rich appreciation of the finest characteristics of the country. But it has a serious defect—a defect which impairs its value, though it helps to give consistency to such an image of Hawthorne's personal nature as we may by this time have been able to form. It is the work of an outsider, of a stranger, of a man who remains to the end a mere spectator (something less even than an observer), and always lacks the final initiation into the manners and nature of a people of whom it may most be said, among all the people of the earth, that to know them is to make discoveries. Hawthorne freely confesses to this constant exteriority, and appears to have been perfectly conscious of it. "I remember," he writes in the sketch of "A London Suburb," in Our Old Home, "I remember to this day the dreary feeling with which I sat by our first English fireside and watched the chill and rainy twilight of an autumn day darkening down upon the garden, while the preceding occupant of the house (evidently a most unamiable personage in his lifetime), scowled inhospitably from above the mantel-piece, as if indignant that an American should try to make himself at home there. Possibly it may appease his sulky shade to know that I quitted his abode as much a stranger as I entered it." The same note is struck in an entry in his journal, of the date of October 6th, 1854.

This seems to me to express very well the weak side of Hawthorne's work—his constant mistrust and suspicion of the society that surrounded him, his exaggerated, painful, morbid national consciousness. It is, I think, an indisputable fact that Americans are, as Americans, the most self-conscious people in the world, and the most addicted to the belief that the other nations of the earth are in a conspiracy to undervalue them. They are conscious of being the youngest of the great nations, of not being of the European family, of being placed on the circumference of the circle of civilisation rather than at the centre, of the experimental element not having as yet entirely dropped out of their great political undertaking. The sense of this relativity, in a word, replaces that quiet and comfortable sense of the absolute, as regards its own position in the world, which reigns supreme in the British and in the Gallic genius. Few persons, I think, can have mingled much with Americans in Europe without having made this reflection, and it is in England that their habit of looking askance at foreign institutions—of keeping one eye, as it were, on the American personality, while with the other they contemplate these objects—is most to be observed. Add to this that Hawthorne came to England late in life, when his habits, his tastes, his opinions, were already formed, that he was inclined to look at things in silence and brood over them gently, rather than talk about them, discuss them, grow acquainted with them by action; and it will be possible to form an idea of our writer's detached and critical attitude in the country in which it is easiest, thanks to its aristocratic constitution, to the absence of any considerable public fund of entertainment and diversion, to the degree in which the inexhaustible beauty and interest of the place are private property, demanding constantly a special introduction—in the country in which, I say, it is easiest for a stranger to remain a stranger. For a stranger to cease to be a stranger he must stand ready, as the French say, to pay with his person; and this was an obligation that Hawthorne was indisposed to incur. Our sense, as we read, that his reflections are those of a shy and susceptible man, with nothing at stake, mentally, in his appreciation of the country, is therefore a drawback to our confidence; but it is not a drawback sufficient to make it of no importance that he is at the same time singularly intelligent and discriminating, with a faculty of feeling delicately and justly, which constitutes in itself an illumination. There is a passage in the sketch entitled About Warwick which is a very good instance of what was probably his usual state of mind. He is speaking of the aspect of the High Street of the town.

There is all Hawthorne, with his enjoyment of the picturesque, his relish of chiaroscuro, of local colour, of the deposit of time, and his still greater enjoyment of his own dissociation from these things, his "disinterested and unincumbered" condition. His want of incumbrances may seem at times to give him a somewhat naked and attenuated appearance, but on the whole he carries it off very well. I have said that Our Old Home contains much of his best writing, and on turning over the book at hazard, I am struck with his frequent felicity of phrase. At every step there is something one would like to quote—something excellently well said. These things are often of the lighter sort, but Hawthorne's charming diction lingers in the memory—almost in the ear. I have always remembered a certain admirable characterisation of Doctor Johnson, in the account of the writer's visit to Lichfield—and I will preface it by a paragraph almost as good, commemorating the charms of the hotel in that interesting town.

The whole chapter entitled "Lichfield and Uttoxeter" is a sort of graceful tribute to Samuel Johnson, who certainly has nowhere else been more tenderly spoken of.

And for mere beauty of expression I cannot forbear quoting this passage about the days in a fine English summer:—

The Note-Books, as I have said, deal chiefly with, the superficial aspect of English life, and describe the material objects with which the author was surrounded. They often describe them admirably, and the rural beauty of the country has never been more happily expressed. But there are inevitably a great many reflections and incidental judgments, characterisations of people he met, fragments of psychology and social criticism, and it is here that Hawthorne's mixture of subtlety and simplicity, his interfusion of genius with what I have ventured to call the provincial quality, is most apparent. To an American reader this later quality, which is never grossly manifested, but pervades the Journals like a vague natural perfume, an odour of purity and kindness and integrity, must always, for a reason that I will touch upon, have a considerable charm; and such a reader will accordingly take an even greater satisfaction in the Diaries kept during the two years Hawthorne spent in Italy; for in these volumes the element I speak of is especially striking. He resigned his consulate at Liverpool towards the close of 1857—whether because he was weary of his manner of life there and of the place itself, as may well have been, or because he wished to anticipate supersession by the new government (Mr. Buchanan's) which was just establishing itself at Washington, is not apparent from the slender sources of information from which these pages have been compiled. In the month of January of the following year he betook himself with his family to the Continent, and, as promptly as possible, made the best of his way to Rome. He spent the remainder of the winter and the spring there, and then went to Florence for the summer and autumn; after which he returned to Rome and passed a second season. His Italian Note-Books are very pleasant reading, but they are of less interest than the others, for his contact with the life of the country, its people and its manners, was simply that of the ordinary tourist—which amounts to saying that it was extremely superficial. He appears to have suffered a great deal of discomfort and depression in Rome, and not to have been on the whole in the best mood for enjoying the place and its resources. That he did, at one time and another, enjoy these things keenly is proved by his beautiful romance, Transformation, which could never have been written by a man who had not had many hours of exquisite appreciation of the lovely land of Italy. But he took It hard, as it were, and suffered himself to be painfully discomposed by the usual accidents of Italian life, as foreigners learn to know it. His future was again uncertain, and during his second winter in Rome he was in danger of losing his elder daughter by a malady which he speaks of as a trouble "that pierced to my very vitals." I may mention, with regard to this painful episode, that Franklin Pierce, whose presidential days were over, and who, like other ex-presidents, was travelling in Europe, came to Rome at the time, and that the Note-Books contain some singularly beautiful and touching allusions to his old friend's gratitude for his sympathy, and enjoyment of his society. The sentiment of friendship has on the whole been so much less commemorated in literature than might have been expected from the place it is supposed to hold in life, that there is always something striking in any frank and ardent expression of it. It occupied, in so far as Pierce was the object of it, a large place in Hawthorne's mind, and it is impossible not to feel the manly tenderness of such lines as these:—

The Note-Books are chiefly taken up with descriptions of the regular sights and "objects of interest," which we often feel to be rather perfunctory and a little in the style of the traditional tourist's diary. They abound in charming touches, and every reader of Transformation will remember the delightful colouring of the numerous pages in that novel, which are devoted to the pictorial aspects of Rome. But we are unable to rid ourselves of the impression that Hawthorne was a good deal bored by the importunity of Italian art, for which his taste, naturally not keen, had never been cultivated. Occasionally, indeed, he breaks out into explicit sighs and groans, and frankly declares that he washes his hands of it. Already, in England, he had made the discovery that he could, easily feel overdosed with such things. "Yesterday," he wrote in 1856, "I went out at about twelve and visited the British Museum; an exceedingly tiresome affair. It quite crushes a person to see so much at once, and I wandered from hall to hall with a weary and heavy heart, wishing (Heaven forgive me!) that the Elgin marbles and the frieze of the Parthenon were all burnt into lime, and that the granite Egyptian statues were hewn and squared into building stones."

The plastic sense was not strong in Hawthorne; there can be no better proof of it than his curious aversion to the representation of the nude in sculpture. This aversion was deep-seated; he constantly returns to it, exclaiming upon the incongruity of modern artists making naked figures. He apparently quite failed to see that nudity is not an incident, or accident, of sculpture, but its very essence and principle; and his jealousy of undressed images strikes the reader as a strange, vague, long-dormant heritage of his straight-laced Puritan ancestry. Whenever he talks of statues he makes a great point of the smoothness and whiteness of the marble—speaks of the surface of the marble as if it were half the beauty of the image; and when he discourses of pictures, one feels that the brightness or dinginess of the frame is an essential part of his impression of the work—as he indeed somewhere distinctly affirms. Like a good American, he took more pleasure in the productions of Mr. Thompson and Mr. Brown, Mr. Powers and Mr. Hart, American artists who were plying their trade in Italy, than in the works which adorned the ancient museums of the country. He suffered greatly from the cold, and found little charm in the climate, and during the weeks of winter that followed his arrival in Rome, he sat shivering by his fire and wondering why he had come to such a land of misery. Before he left Italy he wrote to his publisher—"I bitterly detest Rome, and shall rejoice to bid it farewell for ever; and I fully acquiesce in all the mischief and ruin that has happened to it, from Nero's conflagration downward. In fact, I wish the very site had been obliterated before I ever saw it." Hawthorne presents himself to the reader of these pages as the last of the old-fashioned Americans—and this is the interest which I just now said that his compatriots would find in his very limitations. I do not mean by this that there are not still many of his fellow-countrymen (as there are many natives of every land under the sun,) who are more susceptible of being irritated than of being soothed by the influences of the Eternal City. What I mean is that an American of equal value with Hawthorne, an American of equal genius, imagination, and, as our forefathers said, sensibility, would at present inevitably accommodate himself more easily to the idiosyncrasies of foreign lands. An American as cultivated as Hawthorne, is now almost inevitably more cultivated, and, as a matter of course, more Europeanised in advance, more cosmopolitan. It is very possible that in becoming so, he has lost something of his occidental savour, the quality which excites the goodwill of the American reader of our author's Journals for the dislocated, depressed, even slightly bewildered diarist. Absolutely the last of the earlier race of Americans Hawthorne was, fortunately, probably far from being. But I think of him as the last specimen of the more primitive type of men of letters; and when it comes to measuring what he succeeded in being, in his unadulterated form, against what he failed of being, the positive side of the image quite extinguishes the negative. I must be on my guard, however, against incurring the charge of cherishing a national consciousness as acute as I have ventured to pronounce his own.

Out of his mingled sensations, his pleasure and his weariness, his discomforts and his reveries, there sprang another beautiful work. During the summer of 1858, he hired a picturesque old villa on the hill of Bellosguardo, near Florence, a curious structure with a crenelated tower, which, after having in the course of its career suffered many vicissitudes and played many parts, now finds its most vivid identity in being pointed out to strangers as the sometime residence of the celebrated American romancer. Hawthorne took a fancy to the place, as well he might, for it is one of the loveliest spots on earth, and the great view that stretched itself before him contains every element of beauty. Florence lay at his feet with her memories and treasures; the olive-covered hills bloomed around him, studded with villas as picturesque as his own; the Apennines, perfect in form and colour, disposed themselves opposite, and in the distance, along its fertile valley, the Arno wandered to Pisa and the sea. Soon after coming hither he wrote to a friend in a strain of high satisfaction:—

This romance was Transformation, which he wrote out during the following winter in Rome, and re-wrote during the several months that he spent in England, chiefly at Leamington, before returning to America. The Villa Montauto figures, in fact, in this tale as the castle of Monte-Beni, the patrimonial dwelling of the hero. "I take some credit to myself," he wrote to the same friend, on returning to Rome, "for having sternly shut myself up for an hour or two every day, and come to close grips with a romance which I have been trying to tear out of my mind." And later in the same winter he says—"I shall go home, I fear, with a heavy heart, not expecting to be very well contented there.... If I were but a hundred times richer than I am, how very comfortable I could be! I consider it a great piece of good fortune that I have had experience of the discomforts and miseries of Italy, and did not go directly home from England. Anything will seem like a Paradise after a Roman winter." But he got away at last, late in the spring, carrying his novel with him, and the book was published, after, as I say, he had worked it over, mainly during some weeks that he passed at the little watering-place of Redcar, on the Yorkshire coast, in February of the following year. It was issued primarily in England; the American edition immediately followed. It is an odd fact that in the two countries the book came out under different titles. The title that the author had bestowed upon it did not satisfy the English publishers, who requested him to provide it with another; so that it is only in America that the work bears the name of The Marble Fawn. Hawthorne's choice of this appellation is, by the way, rather singular, for it completely fails to characterise the story, the subject of which is the living faun, the faun of flesh and blood, the unfortunate Donatello. His marble counterpart is mentioned only in the opening chapter. On the other hand Hawthorne complained that Transformation "gives one the idea of Harlequin in a pantomime." Under either name, however, the book was a great success, and it has probably become the most popular of Hawthorne's four novels. It is part of the intellectual equipment of the Anglo-Saxon visitor to Rome, and is read by every English-speaking traveller who arrives there, who has been there, or who expects to go.

It has a great deal of beauty, of interest and grace; but it has to my sense a slighter value than its companions, and I am far from regarding it as the masterpiece of the author, a position to which we sometimes hear it assigned. The subject is admirable, and so are many of the details; but the whole thing is less simple and complete than either of the three tales of American life, and Hawthorne forfeited a precious advantage in ceasing to tread his native soil. Half the virtue of The Scarlet Letter and The House of the Seven Gables is in their local quality; they are impregnated with the New England air. It is very true that Hawthorne had no pretension to pourtray actualities and to cultivate that literal exactitude which is now the fashion. Had this been the case, he would probably have made a still graver mistake in transporting the scene of his story to a country which he knew only superficially. His tales all go on more or less "in the vague," as the French say, and of course the vague may as well be placed in Tuscany as in Massachusetts. It may also very well be urged in Hawthorne's favour here, that in Transformation he has attempted to deal with actualities more than he did in either of his earlier novels. He has described the streets and monuments of Rome with a closeness which forms no part of his reference to those of Boston and Salem. But for all this he incurs that penalty of seeming factitious and unauthoritative, which is always the result of an artist's attempt to project himself into an atmosphere in which he has not a transmitted and inherited property. An English or a German writer (I put poets aside) may love Italy well enough, and know her well enough, to write delightful fictions about her; the thing has often been done. But the productions in question will, as novels, always have about them something second-rate and imperfect. There is in Transformation enough beautiful perception of the interesting character of Rome, enough rich and eloquent expression of it, to save the book, if the book could be saved; but the style, what the French call the genre, is an inferior one, and the thing remains a charming romance with intrinsic weaknesses.

Allowing for this, however, some of the finest pages in all Hawthorne are to be found in it. The subject, as I have said, is a particularly happy one, and there is a great deal of interest in the simple combination and opposition of the four actors. It is noticeable that in spite of the considerable length of the story, there are no accessory figures; Donatello and Miriam, Kenyon and Hilda, exclusively occupy the scene. This is the more noticeable as the scene is very large, and the great Roman background is constantly presented to us. The relations of these four people are full of that moral picturesqueness which Hawthorne was always looking for; he found it in perfection in the history of Donatello. As I have said, the novel is the most popular of his works, and every one will remember the figure of the simple, joyous, sensuous young Italian, who is not so much a man as a child, and not so much a child as a charming, innocent animal, and how he is brought to self-knowledge and to a miserable conscious manhood, by the commission of a crime. Donatello is rather vague and impalpable; he says too little in the book, shows himself too little, and falls short, I think, of being a creation. But he is enough of a creation to make us enter into the situation, and the whole history of his rise, or fall, whichever one chooses to call it—his tasting of the tree of knowledge and finding existence complicated with a regret—is unfolded with a thousand ingenious and exquisite touches. Of course, to make the interest complete, there is a woman in the affair, and Hawthorne has done few things more beautiful than the picture of the unequal complicity of guilt between his immature and dimly-puzzled hero, with his clinging, unquestioning, unexacting devotion, and the dark, powerful, more widely-seeing feminine nature of Miriam. Deeply touching is the representation of the manner in which these two essentially different persons—the woman intelligent, passionate, acquainted with life, and with a tragic element in her own career; the youth ignorant, gentle, unworldly, brightly and harmlessly natural—are equalised and bound together by their common secret, which insulates them, morally, from the rest of mankind. The character of Hilda has always struck me as an admirable invention—one of those things that mark the man of genius. It needed a man of genius and of Hawthorne's imaginative delicacy, to feel the propriety of such a figure as Hilda's and to perceive the relief it would both give and borrow. This pure and somewhat rigid New England girl, following the vocation of a copyist of pictures in Rome, unacquainted with evil and untouched by impurity, has been accidentally the witness, unknown and unsuspected, of the dark deed by which her friends, Miriam and Donatello, are knit together. This is her revelation of evil, her loss of perfect innocence. She has done no wrong, and yet wrongdoing has become a part of her experience, and she carries the weight of her detested knowledge upon her heart. She carries it a long time, saddened and oppressed by it, till at last she can bear it no longer. If I have called the whole idea of the presence and effect of Hilda in the story a trait of genius, the purest touch of inspiration is the episode in which the poor girl deposits her burden. She has passed the whole lonely summer in Rome, and one day, at the end of it, finding herself in St. Peter's, she enters a confessional, strenuous daughter of the Puritans as she is, and pours out her dark knowledge into the bosom of the Church—then comes away with her conscience lightened, not a whit the less a Puritan than before. If the book contained nothing else noteworthy but this admirable scene, and the pages describing the murder committed by Donatello under Miriam's eyes, and the ecstatic wandering, afterwards, of the guilty couple, through the "blood-stained streets of Rome," it would still deserve to rank high among the imaginative productions of our day.

Like all of Hawthorne's things, it contains a great many light threads of symbolism, which shimmer in the texture of the tale, but which are apt to break and remain in our fingers if we attempt to handle them. These things are part of Hawthorne's very manner—almost, as one might say, of his vocabulary; they belong much more to the surface of his work than to its stronger interest. The fault of Transformation is that the element of the unreal is pushed too far, and that the book is neither positively of one category nor of another. His "moonshiny romance," he calls it in a letter; and, in truth, the lunar element is a little too pervasive. The action wavers between the streets of Rome, whose literal features the author perpetually sketches, and a vague realm of fancy, in which quite a different verisimilitude prevails. This is the trouble with Donatello himself. His companions are intended to be real—if they fail to be so, it is not for want of intention; whereas he is intended to be real or not, as you please. He is of a different substance from them; it is as if a painter, in composing a picture, should try to give you an impression of one of his figures by a strain of music. The idea of the modern faun was a charming one; but I think it a pity that the author should not have made him more definitely modern, without reverting so much to his mythological properties and antecedents, which are very gracefully touched upon, but which belong to the region of picturesque conceits, much more than to that of real psychology. Among the young Italians of to-day there are still plenty of models for such an image as Hawthorne appears to have wished to present in the easy and natural Donatello. And since I am speaking critically, I may go on to say that the art of narration, in Transformation, seems to me more at fault than in the author's other novels. The story straggles and wanders, is dropped and taken up again, and towards the close lapses into an almost fatal vagueness.