hand, a cold rationalistic notion of an
unapproachable executor of natural and moral laws. His spirit rested
in the faith of a sympathetic God. His belief was in a Being as
infinitely minute and sympathetic in his providences, as unlimited
in his power and knowledge. Nor need it be said, that he was a firm
believer in the central truths of Christianity, the Incarnation and
Redemption; that he turned from unaided speculation to the inspired
record and the visible Church; that he sought aid in the sacraments
ordained for the strengthening of infirm humanity, and looked for the
resurrection of the dead, and the life of the world to come.

After a second residence of seven years in Europe, he returned to
America in 1818, and again made Boston his home. There, in a circle of
warmly attached friends, surrounded by a sympathy and admiration which
his elevation and purity, the entire harmony of his life and pursuits,
could not fail to create, he devoted himself to his art, the labor of
his love.

This is not the place to enumerate his paintings, or to speak of his
character as an artist. His general reading he continued to the last,
with the earnestness of youth. As he retired from society, his taste
inclined him to metaphysical studies, the more, perhaps, from their
contrast with the usual occupations of his mind. He took particular
pleasure in works of devout Christian speculation, without, however,
neglecting a due proportion of strictly devotional literature. These
he varied by a constant recurrence to the great epic and dramatic
masters, and occasional reading of the earlier and the living
novelists, tales of wild romance and lighter fiction, voyages and
travels, biographies and letters. Nor was he without a strong interest
in the current politics of his own country and of England, as to which
his principles were highly conservative.

Upon his marriage with the daughter of the late Judge Dana, in 1830,
he removed to Cambridge, and soon afterwards began the preparation of
a course of lectures on Art, which he intended to deliver to a select
audience of artists and men of letters in Boston. Four of these he
completed. Rough drafts of two others were found among his papers, but
not in a state fit for publication. In 1841, he published his tale of
"Monaldi," a production of his early life. The poems in the present
volume, not included in the volume of 1813, are, with two exceptions,
the work of his later years. In them, as