Literary history hardly affords a better instance of the direct following of a model by a younger author than one can inspect by laying side by side a page of the first number of "Outre-Mer" and a page of the "Sketch Book," taking in each case the first American editions. Irving's books were printed by C. S. Van Winkle, New York, and Longfellow's by J. Griffin, Brunswick, Maine; the latter bearing the imprint of Hilliard, Gray & Co., Boston, and the former of the printer only. Yet the physical appearance of the two sets of books is almost identical; the typography, distribution into chapters, the interleaved titles of these chapters, and the prefix to each chapter of a little motto, often in a foreign language. It must be remembered that the "Sketch Book," like "Outre-Mer," was originally published in numbers; and besides all this the literary style of Longfellow's work was at this time so much like that of Irving that it is very hard at first to convince the eye that Irving is not responsible for all. Yet for some reason or other the early copies of the "Sketch Book" command no high price at auction, while at the recent sale of Mr. Arnold's collection in New York the two parts of "Outre-Mer" brought $310. The work is now so rare that the library of Harvard University has no copy of the second part, and only an imperfect copy of the first with several pages mutilated, but originally presented to Professor Felton by the author and bearing his autograph. As to style, it is unquestionable that in "Outre-Mer" we find Washington Irving frankly reproduced, while in "Hyperion" we are soon to see the development of a new literary ambition and of a more imaginative touch.