There are, first six plates of outlines from heads and figures in a picture of "Michael setting the Watch." This picture must have been painted in England, and in unknown here except by these outlines. From these alone great strength of design might be inferred. There are, besides, "A Sibyl," sitting in a cave-like, rocky place, the eyes dilated with thought, the mouth tenderly fixed; the cave is open to the sea. This design would have proved one of the most characteristic works of Allston, had it been painted. "Dido and Æneas." Then four plates from figures of angels in "Jacob's Dream." This is a picture painted in England for Lord Egremont, and is mentioned in Leslie's Recollections, by the editor of that work, in a minor key of praise. Then comes the outline of a single figure, "Uriel sitting in the Sun." This picture was also painted in England. As Allston was fond of referring to it, and describing the methods he used to represent the light of the sun behind the angel, as if he felt satisfied with the result, it may be inferred that the effort to do so difficult a thing was successful. The sun was painted over a white ground with transparent glazings of the primary colors laid and dried separately, thus combining the colors prismatically to produce white light. The figure of the sitting angle is grandly original,--of the most noble proportions, and full of watchful life, as of one conscious of a great trust. Then come three compositions, with many figures,--"Heliodorus," "Fairies on the Seashore," and "Titania's Court." These show as much power in composition as the single figures do in design. The "Fairies on the Seashore" is an exquisitely graceful design, both in the figures and the landscape. It is a perfect poem, even as it stands in the outline. A strip of sea, a breaking wave, a rocky island, and on the beach begins a stream of fairies, diminishing as it curves up into the sky. The last one on the shore seems lingering, and the next one to her draws her upwards. The design when painted would have had the lower part of the picture in the shadow of night, and the coming morn in the sky, the light of which should be caught on the distant figures up among the clouds.