of Sterling's best Papers from the
Athenaeum have been published by Archdeacon Hare: first-fruits by a young man of twenty-two; crude, imperfect, yet singularly beautiful and attractive; which will still testify what high literary promise lay in him. The ruddiest glow of young enthusiasm, of noble incipient spiritual manhood reigns over them; once more a divine Universe unveiling itself in gloom and splendor, in auroral firelight and many-tinted shadow, full of hope and full of awe, to a young melodious pious heart just arrived upon it. Often enough the delineation has a certain flowing completeness, not to be expected from so young an artist; here and there is a decided felicity of insight; everywhere the point of view adopted is a high and noble one, and the result worked out a result to be sympathized with, and accepted so far as it will go. Good reading still, those Papers, for the less-furnished mind—thrice-excellent reading compared with what is usually going. For the rest, a grand melancholy is the prevailing impression they leave;—partly as if, while the surface was so blooming and opulent, the heart of them was still vacant, sad and cold. Here is a beautiful mirage, in the dry wilderness; but you cannot quench your thirst there! The writer's heart is indeed still too vacant, except of beautiful shadows and reflexes and resonances; and is far from joyful, though it wears commonly a smile.
In some of the Greek delineations (The Lycian Painter, for example), we have already noticed a strange opulence of splendor, characterizable as half-legitimate, half-meretricious—a splendor hovering between the raffaelesque and the japannish. What other things Sterling wrote there, I never knew; nor would he in any mood, in those later days, have told you, had you asked. This period of his life he always rather accounted, as the Arabs do the idolatrous times before Mahomet's advent, the "period of darkness."
