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The story is in one sense a culmination, and it is perhaps his most complete expression of life; but it is less characteristic of him, less peculiarly his own, than the American tales, notwithstanding its greater breadth, its finer beauty, and its more profound mystery. In method he develops nothing new; the scheme, the manner, the tone are the same already made familiar. He had recourse to his life abroad for the realism of the scene, and took out of his note-books and memory the whole visible world of his romance, precisely as he had formerly utilized the New England village life and the Brook Farm experience. He has drunk in the charm of Italy and absorbed the picturesque and artistic atmosphere of Rome and its religious impressiveness; he has taken most delicately and harmoniously into his sensitive temperament the loveliness and the power of both the world of the past and the world of art, and he renders them back in description as they were mirrored in himself; the stir of Roman life, its antiquity, its still and immutable forms of picture and sculpture, are given back with full sympathy and as clearly as the autumn woodland of the old Puritan town in his first romance; and this realism, for such it is notwithstanding its glamour, is the substance of the tale, though it is all surface, just as was the case with "The House of the Seven Gables." He has done for Rome and Italy what he there did for Salem, different as the effect may seem, owing to the greater nobility and dignity of the material.