tinctly feminine: she wears a robe of immaculate, unmitigated white with sleeves, is fair, with long golden tresses, and has eyes of the blue of Heaven. Just a pure woman she is, pure maiden or pure matron, in her robe de nuit, and with wings attached to her shoulder-blades. Her callings are domestic and sympathetic, she watches over a cradle or assists a sister soul heavenward. Often she bears a palm-leaf, but one would not be surprised if one met her carrying a warming-pan softly to some poor chilly sinner. She it was who came down in a bevy to Marguerite in prison, in the amended last scene in Faust at the Lyceum; and the interesting and improving little children that are to die young, have visions of such angels in the novels of Mrs. Henry Wood. This white womanliness with her indescribable charm of lavender-like holiness, her aroma of clean, methodical lives, is, it would seem after all, a purely Teutonic invention. Latin thought knows her not; the old masters have none of her. She is of a piece with that gentle innocent ladylike school of art whereof the greatest triumph is "a lump in one's throat," and where wit and passion, scorn and pomp, have no place. The white angel was made in Germany, in the land of blonde women and the domestic sentiments. She comes to us cool and worshipful, pure and tranquil, as silently soothing as the breadth and calmness of the starlit sky, which also is so unspeakably dear to the Teutonic soul… We do her reverence. And to the angels of the Hebrews, those spirits of power and mystery, to Raphael, Zadkiel, and Michael, of whom only Watts has caught the shadow, of whom
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