of cheerfulness in the face; and, to say the truth, it does appear to be afflicted with a bedevilled melancholy; but it will do all the better for the author of 'The Scarlet Letter.' In the expression there is a singular resemblance (which I do not remember in Thompson's picture) to a miniature of my father." In Rome, Miss Landor modelled a bust, the marble copy of which is now in the Concord Public Library. It is of life-size, and presents the head in a position which raises the chin and inclines the plane of the face slightly backward, so that the effigy might be taken for that of an orator addressing a great audience. This pose was selected by the sculptress because, after due study, she was persuaded that when Hawthorne became interested in conversation and kindled with the desire to set forth his own view, he always raised his head and spoke from a commanding attitude. She chose to perpetuate a momentary action, instead of rendering his customary aspect of holding the chin somewhat down or on a firm level; and this may account for the likeness not being satisfactory to the members of Hawthorne's own family. The bust, however, renders impressively the magnificent proportions of the neck and head and the whole physiognomy. The mouth is not concealed, and, although it exhibits more decision than that of the Thompson picture, it conveys the same general impression of a quickly responsive sensibility. Mr. Thompson made his painting when Hawthorne was forty-six, and Miss Landor had sittings from the author at the age of fifty-four; but the difference in apparent maturity of power in the face would indicate a much longer interval. This is perhaps due to the difference in the means of representation, and to some defect of strength in Mr. Thompson's drawing; but perhaps also the decided change in Hawthorne's general look, which began under the greatly altered conditions attending his European life, proceeded very rapidly. He allowed a thick mustache to grow, during his last stay in England, and it was then that Kuntze modelled his profile, which sets Hawthorne's features before us in a totally different way from any of the other portraits. Unfortunately, Kuntze's relief is reduced to a size below that of life, and the features accordingly assume a cramped relation. The lofty forehead is given its due importance, however, and concentration of impassioned energy is conveyed by the outline of the face, from this point of view. The chin, always forcible as well as delicate, impresses one in this case with a sense of persistent and enduring determination on the part of the original; and with this sense there is mingled an impression of something that approaches sternness, caused, it may be, by the hirsute upper lip. In considering these several representations and the crayon by Rowse, together with the photographs taken after Hawthorne's home-return, it is impossible not to observe that the sturdier and more