ce soir. Pierre a promis; et les Croisées se fient à sa parole, comme les Israëlites se fiaient à celle de Moise et de Josué."
As a companion portrait to this, Emily chose to depict Harold on the eve of the battle of Hastings. It appears to me, that her dévoir is superior to Charlotte's in power and in imagination, and fully equal to it in language; and that this, in both cases, considering how little practical knowledge of French they had when they arrived at Brussels in February, and that they wrote without the aid of dictionary or grammar, is unusual and remarkable. We shall see the progress Charlotte had made, in ease and grace of style, a year later.
In the choice of subjects left to her selection, she frequently took characters and scenes from the Old Testament, with which all her writings show that she was especially familiar. The picturesqueness and colour (if I may so express it), the grandeur and breadth of its narrations, impressed her deeply. To use M. Héger's expression, "Elle était nourrie de la Bible." After he had read De la Vigne's poem on Joan of Arc, she chose the "Vision and Death of Moses on Mount Nebo" to write about; and, in looking over this dévoir, I was much struck with one or two of M. Héger's remarks. After describing, in a quiet and simple manner, the circumstances under which Moses took leave of the Israelites, her imagination becomes warmed, and she launches out into a noble strain, depicting the glorious futurity of
