efore finishing them with the glazing colors, which worked in his hands
like magic over such a well-hardened surface. By this method of working
he was able to secure solidity of appearance, richness of color, unity
of effect, and atmospheric repose and tenderness enveloping all objects
in the picture. Many of his unfinished works are left in the first stage
of this process, showing precisely how far he relied on the use of solid
color; and by comparing the works left in this state with his finished
pictures, one may see how much he was indebted to the use of transparent
glazes for the beauty, tenderness, and variety of color in the last
stages of his work.

In 1839 there was an exhibition in Boston of such of the works of
Allston as could be borrowed for the occasion. This was managed by the
friends of the artist for his benefit. The exhibition was held in
Harding's Gallery, a square, well-lighted room, but too small for the
larger pictures. It was, however, the best room that could be procured
for the purpose. Here were shown forty-five pictures, including one or
two drawings. There was something peculiarly happy in this exhibition of
works by a single mind. On entering, the presence of the artist seemed
to fill the room. The door-keeper held the door, but Allston held the
room; for his spirit flowed from all the walls, and helped the spectator
to see his work aright. This accompaniment of the artist's presence,
which hangs about all truly artistic works, is disturbed in a
miscellaneous collection, where jarring influences contend, and the
worst pictures outshine and outglare the best, and for a time triumph
over them. But in this exhibition no such disturbance met one, but
rather one was received into an atmosphere of peace and harmony, and in
such a temper beheld the pictures.

The largest picture on the walls was "The Dead Man restored to Life by
touching the Bones of the Prophet Elisha." This is a great subject,
greatly treated, full of power and expression.

The next in size was "Jeremiah dictating his Prophecy to Baruch, the
Scribe." This picture contains two figures, both seated. It is a picture
the scale of which demands that it be seen from a distance, though its
perfect execution makes a nearer view desirable also. If it were seen at
the end of some church aisle, through arches, and with a good light upon
it, the effect would be much enforced. It is a picture of extraordinary
expression. The Prophet, the gr