the
overflow of long-pursued and well-remembered studies recalled without
effort and poured forth almost as a recreation.

As he betrayed or revealed his personality in his first novel, so in this
first effort in another department of literature he showed in epitome his
qualities as a historian and a biographer. The hero of his narrative
makes his entrance at once in his character as the shipwright of Saardam,
on the occasion of a visit of the great Duke of Marlborough. The portrait
instantly arrests attention. His ideal personages had been drawn in such
a sketchy way, they presented so many imperfectly harmonized features,
that they never became real, with the exception, of course, of the
story-teller himself. But the vigor with which the presentment of the
imperial ship-carpenter, the sturdy, savage, eager, fiery Peter, was
given in the few opening sentences, showed the movement of the hand, the
glow of the color, that were in due time to display on a broader canvas
the full-length portraits of William the Silent and of John of Barneveld.
The style of the whole article is rich, fluent, picturesque, with light
touches of humor here and there, and perhaps a trace or two of youthful
jauntiness, not quite as yet outgrown. His illustrative poetical
quotations are mostly from Shakespeare,--from Milton and Byron also in a
passage or two,--and now and then one is reminded that he is not
unfamiliar with Carlyle's "Sartor Resartus" and the "French Revolution"
of the same unmistakable writer, more perhaps by the way in which phrases
borrowed from other authorities are set in the text than by any more
important evidence of unconscious imitation.

The readers who had shaken their heads over the unsuccessful story of
"Morton's Hope" were startled by the appearance of this manly and
scholarly essay. This young man, it seemed, had been studying,--studying
with careful accuracy, with broad purpose. He could paint a character
with the ruddy life-blood coloring it as warmly as it glows in the cheeks
of one of Van der Helst's burgomasters. He could sweep the horizon in a
wide general outlook, and manage his perspective and his lights and
shadows so as to place and accent his special subject with its due relief
and just relations. It was a sketch, or rather a study for a larger
picture, but it betrayed the hand of a master. The feeling of many was
that expressed in the words of Mr. Longfellow in his review of the
"Twice-Told Tales" of t