uncongenial experience brooding over it, and perhaps of inherited
weakness and early death. And the wonder of it all was that the girl had
no sign about herself of longing or discontent; she was not of a nature
to anticipate or dream, and the spectator's interest was intensified at
seeing in her and before her what she herself did not perceive. That art
can give such power of suggestion to its creations is a marvel and a
delight.

Following these two works--and at some distance, although near enough to
confirm and even increase the painter's fame--came the Priscilla,
Evening; Lorette, Nydia, Boy and Bird, Hannah, Psyche, and others,
ending this year with the Arethusa, whose glowing and chastened
loveliness makes it his strongest purely artistic work, and confirms the
technical value of his method as completely as The Quadroon and Winifred
Dysart do his habit of thought. He painted innumerable landscapes,
portraits, and ideal heads, and in figure compositions produced, among
others, two works of great and permanent value, the And She Was a Witch,
and The Gatherer of Simples, to whose absorbing interest all who have
studied them closely will confess. The latter, particularly, is of
importance as showing how carefully Fuller studied into the secret of
expression, and of nature's sympathy with human moods. This poor, worn,
sad, old face, in which beauty and hope shone once, and where
resignation and memory now dwell; this trembling figure, to whose
decrepitude the bending staff confesses as she totters _down_ the hill;
the gathering gloom of the sky, in which one ray of promise for a bright
to-morrow shines from the setting sun; the mute witnessing of the trees
upon the hill, which have seen her pass and repass from joyful youth to
lonely age, and even her eager grasp upon the poor treasure of herbs
that she bears,--all these items of the scene impress one with a
sympathy whose keenness is even bitter, and excite a deep respect and