streamed through the entrance of the harbor, and lay molten and glowing
on the water. The steamer's deck and chairs and benches were wet with
dew, the noises in transferring the baggage and getting the boat under
way were all muffled and echoed in the surrounding silence. The
sail-boats that lay at anchor on the still silver surface sent down long
shadows, and the slim masts seemed driven down into the water to hold the
boats in place. The little village was still asleep. It was such a
contrast; the artist was saying to Marion, as they leaned over the
taffrail, to the new raw villages in the Catskills. The houses were
large, and looked solid and respectable, many of them were shingled on
the sides, a spire peeped out over the green trees, and the hamlet was at
once homelike and picturesque. Refinement is the note of the landscape.
Even the old warehouses dropping into the water, and the decaying piles
of the wharves, have a certain grace. How graciously the water makes
into the land, following the indentations, and flowing in little streams,
going in and withdrawing gently and regretfully, and how the shore puts
itself out in low points, wooing the embrace of the sea--a lovely union.
There is no haze, but all outlines are softened in the silver light. It
is like a dream, and there is no disturbance of the repose when a family
party, a woman, a child, and a man come down to the shore, slip into a
boat, and scull away out by the lighthouse and the rocky entrance of the
harbor, off, perhaps, for a day's pleasure. The artist has whipped out
his sketch-book to take some outlines of the view, and his comrade,
looking that way, thinks this group a pleasing part of the scene, and
notes how the salt, dewy morning air has brought the color into the
sensitive face of the girl. There are not many such hours in a lifetime,
he is also thinking, when nature can be seen in such a charming mood, and
for the moment it compensates for the night ride.

The party indulged this feeling when they landed, still early, at the