the repose proper to hair in a recumbent and inactive
attitude is charmingly expressed. There is a feeling
about this part of the work which lifts it to the highest
altitudes of art; the sense of sordid realism vanishes
away--one recognizes that there is SOUL here.

View this Trunk as you will, it is a gem, it is a marvel,
it is a miracle. Some of the effects are very daring,
approaching even to the boldest flights of the rococo,
the sirocco, and the Byzantine schools--yet the master's hand
never falters--it moves on, calm, majestic, confident--and,
with that art which conceals art, it finally casts over
the TOUT ENSEMBLE, by mysterious methods of its own,
a subtle something which refines, subdues, etherealizes the
arid components and endures them with the deep charm
and gracious witchery of poesy.

Among the art-treasures of Europe there are pictures
which approach the Hair Trunk--there are two which may
be said to equal it, possibly--but there is none that
surpasses it. So perfect is the Hair Trunk that it moves
even persons who ordinarily have no feeling for art.
When an Erie baggagemaster saw it two years ago, he could
hardly keep from checking it; and once when a customs
inspector was brought into its presence, he gazed upon
it in silent rapture for some moments, then slowly
and unconsciously placed one hand behind him with the
palm uppermost, and got out his chalk with the other.
These facts speak for themselves.