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diff --git a/old/52730-0.txt b/old/52730-0.txt deleted file mode 100644 index 675ba82..0000000 --- a/old/52730-0.txt +++ /dev/null @@ -1,4076 +0,0 @@ -The Project Gutenberg EBook of Portraits in Plaster, by Laurence Hutton - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Portraits in Plaster - -Author: Laurence Hutton - -Release Date: August 5, 2016 [EBook #52730] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK PORTRAITS IN PLASTER *** - - - - -Produced by Chris Curnow, ellinora and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - Transcriber’s Note - - Obvious typos and punctuation errors have been corrected. - - Inconsistencies in spelling have been retained. - - The book advertisement at the end of the text uses a Unicode character - "White Right Pointing Index" (U+261E) for a right pointing hand. If - the font in use on the reader's device does not support it, this - character, ☞, may not display correctly. - - Italic text in the original is represented by underscores surrounding - the _italic text_. - - Small capitals in the original have been converted to ALLCAPS in the - text. - - Superscripted letters are indicated by a preceding ^ character, and - multiple consecutive superscripted characters are surrounded by - brackets, for example, 1^{st}. - - Descriptions of illustrations without captions have been added to the - text. - - The Index lists an entry "Newton, Sir Isaac, quoted, 5-6." but this - quotation does not seem to exist at those pages or anywhere else in - the text. - - The Index lists an entry "Volk, Leonard W., quoted, 237, 238." but this - quotation does not seem to exist at those pages. A reference to Volk - is found on pp. 249-250. - ------------------------------------------------------------------------- - -[Illustration: EDWIN BOOTH] - - [See page 38 - ------------------------------------------------------------------------- - - - - - Portraits in Plaster - - FROM - THE COLLECTION - OF - LAURENCE HUTTON - - [Illustration of torch being passed hand to hand] - - NEW YORK - HARPER & BROTHERS PUBLISHERS - 1894 - ------------------------------------------------------------------------- - - - - - Copyright, 1894, by HARPER & BROTHERS. - - _All rights reserved._ - ------------------------------------------------------------------------- - - - - - ILLUSTRATIONS - - - PAGE - EDWIN BOOTH _Frontispiece_ - DANTE 7 - TORQUATO TASSO 11 - SHAKSPERE—Stratford Bust 15 - SHAKSPERE—Kesselstadt Mask 17 - DAVID GARRICK 21 - EDMUND KEAN 25 - JOHN M’CULLOUGH 29 - DION BOUCICAULT 31 - LAWRENCE BARRETT 35 - HENRY EDWARDS 39 - EDWIN BOOTH 43 - MRS. SIDDONS 47 - LOUISE OF PRUSSIA 51 - MARIA F. MALIBRAN 55 - FREDERICK SCHILLER 59 - LUDWIG VON BEETHOVEN—From Life 63 - LUDWIG VON BEETHOVEN—From Death 65 - FELIX MENDELSSOHN 69 - G. R. MIRABEAU 73 - JEAN PAUL MARAT 77 - MAXIMILIAN ROBESPIERRE 79 - SIR ISAAC NEWTON 83 - BEN. CAUNT 87 - WILLIAM MAKEPEACE THACKERAY 89 - THOMAS CHALMERS 93 - SAMUEL TAYLOR COLERIDGE 97 - WILLIAM WORDSWORTH 101 - JOHN KEATS 107 - SAMUEL JOHNSON 111 - BENJAMIN ROBERT HAYDON 115 - JEREMY BENTHAM 119 - DANTE GABRIEL ROSSETTI 123 - COUNT CAVOUR 127 - PIUS IX 129 - GIACOMO LEOPARDI 133 - JOHN BOYLE O’REILLY 135 - SIR THOMAS LAWRENCE 139 - J. M. W. TURNER 143 - HIRAM POWERS 147 - LOUIS AGASSIZ—From Life 151 - LOUIS AGASSIZ—From Death 153 - CHARLES SUMNER 155 - ANTONIO CANOVA 159 - RICHARD BRINSLEY SHERIDAN 161 - THOMAS MOORE 165 - EDMUND BURKE 169 - JOHN PHILPOT CURRAN 173 - LORD PALMERSTON 175 - BENJAMIN DISRAELI 179 - JONATHAN SWIFT 183 - SIR WALTER SCOTT 189 - ROBERT BURNS 193 - KING ROBERT THE BRUCE 195 - NAPOLEON I 199 - NAPOLEON III 203 - OLIVER CROMWELL 207 - HENRY IV. OF FRANCE 215 - CHARLES XII. OF SWEDEN 219 - FREDERICK THE GREAT 223 - U. S. GRANT 227 - WILLIAM T. SHERMAN 231 - GEORGE WASHINGTON 235 - BENJAMIN FRANKLIN 239 - THOMAS PAINE 243 - AARON BURR 247 - ABRAHAM LINCOLN 251 - DANIEL WEBSTER 255 - HENRY CLAY 257 - JOHN C. CALHOUN 259 - LORD BROUGHAM 263 - FLORIDA NEGRO BOY 266 - ------------------------------------------------------------------------- - - - - - INTRODUCTION. - - -The story of the beginning of my collection of masks is curious and -perhaps interesting. The half-dozen casts upon which it is based were -found, early in the Sixties, in a dust-bin in one of the old-fashioned -streets which run towards the East River, in the neighborhood of -Tompkins Square, New York. Their owner had lately died; his -unsympathetic and unappreciative heirs had thrown away what they -considered “the horrible things;” a small boy had found them, and -offered them for sale to a dealer in phrenological casts, who realized -their worth, although, in many cases, he did not know whose heads they -represented; and so, by chance, they came into my possession, and -inspired the search for more. - -The history of these masks which formed the nucleus of the collection, -or the history of the original collector himself, I have never been able -to discover. They are, however, the casts most frequently described in -the printed lectures of George Combe, who came to America in the winter -of 1838-39, and the inference is that they were left here by him in the -hands of one of his disciples. - -The earliest masks in the collection to-day are replicas of those of -Dante, made, perhaps, in the first part of the fourteenth century, and -of Tasso, certainly made at the end of the sixteenth. The latest mask is -that of Edwin Booth, who died only a few months ago. They range from Sir -Isaac Newton, the wisest of men, to Sambo, the lowest type of the -American negro; from Oliver Cromwell to Henry Clay; from Bonaparte to -Grant; from Keats to Leopardi; from Pius IX. to Thomas Paine; from Ben -Caunt, the prize-fighter, to Thomas Chalmers, the light of the Scottish -pulpit. - -So far as I have been able to discover, mine is the most nearly complete -and the largest collection of its kind in the world. I have, indeed, -found nothing anywhere to compare with it. Usually, the Phrenological -Museums contain casts of idiots, criminals, and monstrosities, and these -are seemingly gathered together to illustrate what man’s cranial -structure ought not to be. There are but three or four casts of the -faces of distinguished persons in the British Museum, and about as many -in the National Portrait Gallery in London; and all of these I am able -to present here, with the exception of that of James II., who belongs, -perhaps, to the criminal class. In the Hohenzollern Museum are many -casts, but these generally are those of civic or national -celebrities—Berlin aldermen or German warriors, in whom the world at -large has but little interest. The casts of Frederick the Great, Queen -Louise, Schiller, and one or two more in that institution, however, I -was permitted to have reproduced. The others I have gathered after many -years of patient and pleasant research in the studios, the -curiosity-shops, and the plaster-shops of most of the capitals of Europe -and America. The story of this research, with an account of the means -taken to identify the masks when they were discovered, could itself make -a book of this size. I am sure that mine is the actual death-mask of -Aaron Burr, for instance, because I have the personal guarantee of the -man who made the mould in 1836; I am positive of the identity of another -cast, because I saw it made myself; and concerning still another, I have -no question, because I know the man who stole it! In the matter of the -great majority of the masks, however, the difficulties were very great. -Hardly one _per centum_ of the hundreds of biographers whose works I -have consulted ever refer to the taking of a mask in life, or after -death, and there is absolutely no literature which is devoted to the -subject. The cast of Sheridan’s hand is often alluded to, the mask of -his dead face is nowhere mentioned; and yet there appears to be no doubt -that both were taken. The cast of his head has been compared carefully -with all the existing portraits; it has been examined by experts in -portraiture; phrenologists have described the character of the man most -accurately, from its bumps and its physiognomy; it was certainly made -from nature; it is too like Sheridan to have been made from the nature -of any other man; and yet there is no record of its having been made. No -surviving member of the family of Coleridge had ever heard of the -existence of his death-mask until my copy was discovered, but they all -accept it as genuine; and I recognized Mr. Ernest Hartley Coleridge -once, in the corridor of a London club, by his wonderful resemblance in -features, and in the shape of his head, to the mask of his grandfather. -The mask of Dean Swift which I possess is exactly like the long-lost -cast as it is engraved in Dr. Wilde’s book. The mask of Charles XII. -shows distinctly the marks of the bullet in the temple; and I have -succeeded in tracing the other casts in many and very different ways. - -I may mention here that some of these masks, as you now see them, were -broken in the Custom-house in New York, and that the mask of Elihu -Burritt was demolished entirely and without hope of restoration. Upon -these, notwithstanding their condition, and upon all the imported masks, -I paid a duty of fifty-five _per centum_, upon a valuation assessed -usually at twenty-five _per centum_ above what I swore was their value -in Europe; the Custom-house charges of various kinds being, in many -instances, larger than the original cost of the casts themselves. So far -as I can understand, I was taxed in this matter in order to protect the -ghosts of the plasterers of America, who could not have made these casts -even if they had so wished! - -The value of a plaster cast as a portrait of the dead or living face -cannot for a moment be questioned. It must, of necessity, be absolutely -true to nature. It cannot flatter; it cannot caricature. It shows the -subject as he was, not only as others saw him, in the actual flesh, but -as he saw himself. And in the case of the death-mask particularly, it -shows the subject often as he permitted no one but himself to see -himself. He does not pose; he does not “try to look pleasant.” In his -mask he is seen, as it were, with his mask off! - -Lavater, in his _Physiognomy_, says that “the dead, and the impressions -of the dead, taken in plaster, are not less worthy of observation [than -the living faces]. The settled features are much more prominent than in -the living and in the sleeping. What life makes fugitive, death arrests. -What was undefinable is defined. All is reduced to its proper level; -each trait is in its true proportion, unless excruciating disease or -accident have preceded death.” And Mr. W. W. Story, in writing of the -life-mask of Washington, says of life-masks generally: “Indeed a mask -from the living face, though it repeats exactly the true forms of the -original, lacks the spirit and expression of the real person. But this -is not always the case. The more mobile and variable the face, the more -the mask loses; the more set and determined the character and -expression, the more perfectly the work reproduces it.” - -The procedure of taking a mould of the living face is not pleasant to -the subject. In order to prevent the adhesion of the plaster, a strong -lather of soap and water, or more frequently a small quantity of oil, is -applied to the hair and to the beard. This will explain the flat and -unnatural appearance of the familiar mustache and imperial in the cast -of Napoleon III. In some instances, as in that of Keats, a napkin is -placed over the hair. The face is then moistened with sweet-oil; quills -are inserted into the nostrils in order that the victim may breathe -during the operation, or else openings are left in the plaster for that -purpose. A description of the taking of the mould of the face of a Mr. -A—— (condensed from a copy of the _Phrenological Journal_, published in -Edinburgh in January, 1845), will give the uninitiated some idea of the -process: “The person was made to recline on his back at an angle of -about thirty-five degrees, and upon a seat ingeniously adapted to the -purpose. The hair and the face being anointed with a little pure scented -oil, the plaster was laid carefully upon the nose, mouth, eyes, and -forehead, in such a way as to avoid disturbing the features; and this -being set, the back of the head was pressed into a flat dish containing -plaster, where it continued to recline, as on a pillow. The plaster was -then applied to the parts of the head still uncovered, and soon -afterwards the mould was hard enough to be removed in three pieces, one -of which, covering the occiput, was bounded anteriorly by a vertical -section immediately behind the ears, and the other two, which covered -the rest of the head, were divided from each other by pulling up a -strong silken thread previously so disposed upon the face on one side of -the nose.” The account closes with the statement that “Mr. A—— declared -that he had been as comfortable as possible all the time”! - -Since these papers originally appeared in HARPER’S MAGAZINE in the -autumn of 1892, they have been revised, enlarged, and virtually -rewritten. Eighteen new masks are here presented, and I have added many -pages to the descriptive text. - -The subject-matter of the volume may not be considered very cheerful -reading, but I feel that to those to whom the work appeals at all it -will appeal strongly as an unique portrait gallery of men and women of -all countries and of many ages, distinguished in many walks of life. I -trust that it will lend itself particularly to extra-illustration. And -to all those who make human portraiture a study, or a hobby, it is -cordially inscribed. - - LAURENCE HUTTON. - -NEW YORK, January 1, 1894. - ------------------------------------------------------------------------- - - - - - PORTRAITS IN PLASTER - - - “The sleeping and the dead are but as pictures.” - - —_Macbeth_, act ii., scene 2. - -If the creator of Duncan was right in saying that there is no art to -find the mind’s construction in the face, then must the author of the -_Novum Organum_ have been wrong when he declared that “physiognomy ... -discovereth the disposition of the mind by the lineaments of the body;” -and these, curiously enough, are parallel passages never quoted by the -believers in the theory that Bacon was the writer of Shakspere’s plays. - -It is not intended here to enter into a discussion of the merits or -demerits of physiognomy. This is an Exhibition of Portraits, not a -Phrenological Lecture. I shall try to show how these men and women -looked, in life and in death, not why they happened to look as they did; -and I shall dwell generally upon their brains, occasionally upon their -bones, but only incidentally upon their bumps. - -The ancient Romans are said to have made, in wax, casts of the faces of -their illustrious dead. These masks are believed to have been colored to -represent the originals as they appeared in life, to have been cherished -religiously by their descendants through many generations, and, on the -occasion of a public and formal funeral, it is thought that they were -sometimes worn by professional mourners, as a sort of posthumous tribute -from the dead already to the memory of the latest man who had died. And -recent explorers have satisfied themselves that in the early burials of -many nations it was the custom to cover the heads and bodies of the dead -with sheets of gold so pliable that they took the impress of the form; -and not infrequently, when in the course of centuries the embalmed flesh -had shrivelled or fallen away, the gold retained the exact cast of the -features. Schliemann found a number of bodies “covered with large masks -of gold-plate in _repoussé_-work,” several of which have been reproduced -by means of engraving, in his _Mycenæ_; and he asserted that there can -be no doubt whatever that each one of these represents the likeness of -the deceased person whose face it covered. - -When Hamlet said that Alexander died, Alexander was buried, Alexander -returneth to dust, he overlooked the fact that Alexander’s dust, instead -of being converted into loam to stop a beer-barrel, was preserved from -corruption by the process of embalming, and from external injury by -being cased in the most precious of metals. Pettigrew, in his _History -of Egyptian Mummies_, said of the death-mask of Alexander that “it was a -sort of chase-work, and of such a nature that it could be applied so -closely to the skin as to preserve not only the form of the body, but -also to give the expression of the features to the countenance.” He did -not quote his authority for this statement, but it is unquestionably -derived from the account of the death and burial of Alexander written by -Diodorus Siculus, who said: “And first a coffin of beaten gold was -provided, so wrought by the hammer as to answer to the proportions of -the body; it was half filled with aromatic spices, which served as well -to delight the sense as to prevent the body from putrefaction.” Then -follows a description of the funeral chariot, and of the long line of -march from Babylon to Alexandria, where Augustus Cæsar saw the tomb -three hundred years later; but there is no reference to a mask of -Alexander’s face in gold. It is greatly to be regretted that such a mask -does not exist now, that it might be compared with the plaster masks of -Cromwell, Washington, Frederick the Great, Bonaparte, Grant, and -Sherman, and other conquerors of later days here presented to the public -scrutiny. - -Among the gold mummy-masks exhibited in the Museum of the Louvre is one, -as Mr. John C. Van Dyke points out, which bears a curious and striking -resemblance not only to Washington, but to the familiar portraits of -Greuze, the painter. It is No. 536 of the Egyptian Collection, and bears -a card with the following inscription: “Masque de Momie trouvé dans le -chambre d’Apis consacré par le Prince Kha-Em-Onas.” - -In the collection of antiques presented to the museum at Naples by -Prince Corignano is a wax mask with glass eyes. It was found with four -decapitated bodies in a tomb at Cumæ, and it is evidently a portrait of -the original, who is said to have been a Christian martyr. And Mr. W. M. -Flynders Petrie exhibited in London, in the autumn of 1892, an -exceedingly interesting collection of antiquities brought from -Tel-el-Amarna, the Arab name for the ancient city of Khuenaten, situated -about one hundred and eighty miles south of Cairo. That city was built -about fourteen hundred years before Christ, by Khuenaten, son of -Amenhotep III., who made it the centre of his proposed great revolution -in religion, art, and ethics. The collection comprised, among other -things, a cast from the head of Khuenaten himself, taken after death, -according to Mr. Petrie, for the use of the sculptor who was preparing -the sarcophagus for his tomb. These are among the earliest examples of -death-masks which have come down to us. - -At least three copies of the Dante mask, all believed to be authentic, -are known to be in existence. First, that which is called the Torrigiani -cast, which can be traced back to 1750; second, the so-called Seymour -Kirkup mask, given to him by the sculptor Bartolini, who is said to have -found it in Ravenna; and third, a mask belonging, according to Kirkup, -to “the late sculptor Professor Ricci.” “The slight differences between -these,” adds Kirkup, “are such as might occur in casts made from the -original mask.” Concerning the original mask itself, says Mr. Charles -Eliot Norton, there is no trustworthy history to be obtained. On the -very threshold of his inquiry into the matter he was met with the doubt -whether the art of taking casts was practised at the time of Dante’s -death at all, Vasari, in his life of Andrea del Verocchio, who -flourished in the middle of the fifteenth century, having declared that -the art first came into use in Verocchio’s day. It is certain that there -is no record of the Dante mask for three hundred years after Dante died; -but it is equally certain that it resembles nearly all the portraits of -Dante down to the time of Raphael. Mr. Norton believes, from external -evidence, that it is, at all events, a death-mask of some one; and of -this, it seems to me, there can be no question. - -There are two masks of Dante now on public exhibition in Florence. One -is in the house built upon the site of the mansion in which Dante was -born; the other is in a small cabinet adjoining the Hall of the -Hermaphrodite in the Uffizi Gallery. The former is a cast of the face -only, and it bears every evidence of recent construction. The latter is -a cast in plaster of the head and shoulders, and is one of the masks of -which Mr. Norton speaks. It has, unfortunately, been painted, the face a -flesh color, the cap and gown red, the waistcoat and the tabs over the -ears green; but it is undoubtedly a very early cast from the mould made -from the actual head. It bears the following inscription, “Effigie di -Dante Alighieri, Maschera Formata sul di lui Cadavere in Ravenna l’Anno -1321,” and to it is attached a card saying that it was bequeathed to the -Museum by the Marquis Torrigiani in 1865. It is here reproduced. - ------------------------------------------------------------------------- - -[Illustration: DANTE] - ------------------------------------------------------------------------- - -“Why keep you your eyes closed, Signor Torquato?” said a watcher at the -death-bed of Tasso—one of those silly persons who ask silly questions, -even under the most serious circumstances—“Why keep you your eyes -closed?” “That they may grow accustomed to remain closed,” was the -feeble reply. They have been closed to all mortal vision for three -hundred years now, but in the pale, cold plaster of the accompanying -mask his face is still seen as it was seen by the vast and sorrowing -multitudes who lined the streets of Rome to look upon his triumphant -funeral procession. His body was clad in an antique toga, kindled tapers -lighted his way, and his pallid brow was at last encircled by the wreath -of laurel he had waited for so long. And thus at the end of the -Nineteenth Century do we, in the New World, look upon the cast of the -actual face of the great poet of the Old World who died at the end of -the century he adorned. The original mask is preserved, with other -personal relics of Tasso, in the room of the convent of San Onofrio, in -which he died. But the great powder explosion which shook all Rome a few -years ago so shattered this part of the convent that the room and the -mask are no longer shown to the public. - -The personal appearance of Tasso has been carefully and minutely -described by his friend and biographer Manso. His broad forehead was -high and inclined to baldness; his thin hair was of a lighter color than -that of his countrymen generally; his eyes were large, dark blue, and -set wide apart; his eyebrows were black and arched; his nose was -aquiline; his mouth was wide; his lips were thin; and his beard was -thick and of a reddish-brown tinge. - -Tasso went from Naples to Rome to receive from the hands of the Pope the -crown of bay which had been worn by Petrarch and other laureates of -Italy; and he died upon the day set apart for his coronation. - ------------------------------------------------------------------------- - -[Illustration: TASSO] - ------------------------------------------------------------------------- - -The head of Shakspere here presented, from the monumental bust in the -chancel of the church at Stratford, like everything else relating to -Shakspere, in life or in death, is shrouded in mystery. It is supposed -to be the work of one Gerard Johnson, and to have been “cut from a -death-mask” shortly after Shakspere’s funeral. The earliest allusion to -it is to be found in a poem of Leonard Digges, written seven years -later. It was certainly in existence during the lifetime of Anne -Hathaway Shakspere, and of other members of his family, who would, -perhaps, have objected or protested if the likeness had not been -considered a good one. Sir Francis Chantrey believed it to have been -worked from a cast of the living or the dead face. “There are in the -original in the church,” he wrote, “marks of individuality which are not -to be observed in the usual casts from it; for instance, the markings -about the eyes, the wrinkles on the forehead, and the undercutting from -the moustachios.” Wordsworth, among others, accepted its authenticity, -and Mr. Halliwell-Phillipps did not hesitate to put himself on record, -more than once, as having every faith in its superiority, in the matter -of actual resemblance, to any of the alleged portraits. He ranked it, in -point of authority, before the Droeshout print, endorsed by Ben Jonson -as perfect; and he called attention to the general resemblance to be -traced between them. - -It certainly differs in many respects from the famous plaster cast found -in a curiosity-shop in Germany some years ago, and known as the -Kesselstadt mask, a photograph of which is here reproduced. This mask is -believed, by those who believe in it at all, to have been made from -Shakspere’s dead face, to have been carried to Germany by a German envoy -to England in the reign of James I., to have been cherished as an -authentic and valuable relic for many generations, to have been sold for -rubbish at the death of the last of the race, and to have been recovered -in a most fortuitous way. It bears upon its back the date of Shakspere’s -death, 1616, it has been the subject of more discussion than any piece -of plaster of its size in the world, and even those who believe that it -is not Shakspere have never asserted that it _is_ Bacon! - -According to Mr. G. Huntley Gordon, this cast from the Stratford bust -was taken about 1845, stealthily and in the middle of the night, by a -young Stratford plasterer, who was frightened by imaginary noises before -he succeeded in getting a mould of the entire head. After the protest -raised against Malone for whitewashing the bust in 1793, the -authorities, naturally, had put an embargo upon any handling of the -monument, and the operation was fraught with much risk to the aspiring -youth who undertook it. A cast is known to have been taken for Malone, -however, and since then other casts have been made by other artists, -notably one by George Bullock, who made the death-mask of Scott. - ------------------------------------------------------------------------- - -[Illustration: SHAKSPERE—Stratford Bust] - ------------------------------------------------------------------------- - -[Illustration: SHAKSPERE—Kesselstadt Mask] - ------------------------------------------------------------------------- - -Next to the Stratford bust, the sculptured portrait of Shakspere most -familiar to the world is that which stands in Poets’ Corner, Westminster -Abbey. The artist went to some strange source for the likeness, and -although it was for gentle Shakspere cut, by no means does it outdo the -life. “I saw old Samuel Johnson,” said Cumberland, describing Garrick’s -funeral—“I saw old Samuel Johnson standing at the foot of Shakspere’s -monument, and bathed in tears.” Burke on that occasion remarked that the -statue of Shakspere looked towards Garrick’s grave; and on this stray -hint, as Mr. Brander Matthews believes, Sheridan hung his famous couplet -in the _Monody_: - - “While Shakspere’s image, from its hallowed base, - Served to prescribe the grave and point the place.” - -Garrick’s face, it is said, was wonderfully under control, and his -features had a marvellous flexibility, which rendered variety and rapid -change of expression an easy matter. The story of his having frightened -Hogarth by standing before him as the ghost of Fielding, assuming the -appearance of the dead novelist in all the fixedness and rigidity of -death, has often been told. There are many original portraits of Garrick -in existence. The Garrick Club in London possesses at least a dozen, -while The Players in New York own two by Zoffany, and one by Reynolds. - -A not uncommon print, entitled “The Mask of Garrick taken from the Face -after Death,” is in the Shaksperian Library at Stratford-upon-Avon, and -it is to be found in Evans’s “Catalogue of Engraved Portraits.” It does -not seem, however, to be the portrait of a dead man, being full of -living expression, and it is, perhaps, an enlarged reproduction of the -face in the miniature by Pine of Bath, now in the Garrick Club, the eyes -having the same dilatation of pupil which was characteristic of the -great actor. - -The mask here shown was purchased in 1876 from the late Mr. Marshall, -the antiquarian dealer in Stratford, who possessed what he believed to -be its pedigree written in pencil on the back of the plaster, and now -unfortunately defaced. He asserted that it was taken from life, and that -it had come by direct descent from the sculptor’s hands into his. There -is a replica of it in the Shakspere Museum at Stratford, but no history -is attached to it, and the trustees know nothing about it, except that -it was “the gift of the late Miss Wheeler.” It resembles very strongly -the familiar portrait of Garrick by Hogarth, the original of which hangs -in one of the bedrooms of Windsor Castle. - ------------------------------------------------------------------------- - -[Illustration: DAVID GARRICK] - ------------------------------------------------------------------------- - -In a very early cast of the Garrick mask, still existing in London, the -texture of the skin proves conclusively that it was taken from nature, -and most probably from life. - -In the “Guild Hall” of “The City of Lushington,” an ancient and very -unique social club, which has met for many years in a dark and dingy -little back room connected with the Harp Tavern, in Russell Street, -Covent Garden, London, are still preserved the chair of Edmund Kean, the -hole in the wall made by the quart pot he threw once, in a fit of gross -insubordination, at a former “Lord Mayor,” and what is religiously -considered by all the citizens of Lushington to be a death-mask of Kean -himself. This cast is covered with glass and with dust and its history -is lost in the mists of time. There is no record of it in the -metropolitan archives, the corporation will not permit it to be -reproduced, even by photography, and it bears but little resemblance to -Kean, or to the mask in my possession, which also has no history, but -which I believe to be authentic, and which is certainly very like the -sketch of Kean done in oils by George Clint, and now in the possession -of Mr. Henry Irving. This hurried sketch of Clint’s is said to be the -only portrait for which Kean could be induced to sit. It was made in -Kean’s bedroom in a few hours, and it is the groundwork of more than one -finished portrait of the same subject by the same artist. The portrait -of Kean by Neagle, now the property of The Players, has a similar -tradition. - -The Lushington cast is perhaps an early life-mask of the elder Kean, -perhaps a life-mask, or a death-mask, of the younger Kean, more probably -the mask of some defunct and commonplace and now forgotten mayor or -alderman of Lushington, who did not even look like Kean. - ------------------------------------------------------------------------- - -[Illustration: EDMUND KEAN] - ------------------------------------------------------------------------- - -The eye-witnesses of Kean’s theatrical performances were generally so -much impressed by the force of his acting that they paid little -attention to his personal appearance. We read in Leslie’s -_Autobiography_ that “he had an amazing power of expression in his -face,” and “that his face, although not handsome, was picturesque;” a -writer in the _New Monthly Magazine_ in 1833 spoke of him as “a small -man with an Italian face and fatal eye;” a writer in _Blackwood_, a few -years later, called him “a man of low and meagre figure, of a Jewish -physiognomy, and a stifled and husky voice;” while Miss Fanny Kemble -said that “he possessed particular physical qualifications; an eye like -an orb of light; a voice exquisitely touching and melodious in its -tendencies, but in the harsh dissonance of vehement passion terribly -true.” Barry Cornwall, in his poor _Life of Kean_, spoke of “his thin, -dark face, full of meaning, taking, at every turn, a sinister or -vigilant expression,” and as being “just adapted to the ascetic and -revengeful Shylock.” And Henry Crabb Robinson said in 1814, “Kean’s face -is finely expressive, though his mouth is not handsome, and he projects -his lower lip ungracefully.” - -The portrait of Kean by Helen Faucit, Lady Martin, is the best that has -been presented to us. She met him once on the Green at Richmond when she -was a child, and he a broken-down old man. “I was startled, frightened -at what I saw,” she wrote: “a small pale man with a fur cap, and wrapped -in a fur cloak. He looked to me as if come from the grave. A stray lock -of very dark hair crossed his forehead, under which shone eyes which -looked dark, and yet bright as lamps. So large were they, so piercing, -so absorbing, I could see no other features.... Oh, what a voice was -that which spoke! It seemed to come from far away—a long, long way -behind him. After the first salutation, it said, ‘Who is this little -one?’ When my sister had explained, the face smiled; I was reassured by -the smile, and the face looked less terrible.” - -Among the English-speaking actors of later days few have been better -known and better liked, in America at all events, than John McCullough, -Dion Boucicault, Lawrence Barrett, Henry Edwards, and Edwin Booth, the -faces of all of whom I am able to present here. John McCullough, the -first of this galaxy of stars to quit the stage of life, was a man of -strong and attractive personality, if not a great actor; he had many -admirers in his profession and many friends out of it. The cloak which -Forrest dropped fell upon his shoulders, and in such parts as Virginius, -Damon, and the Brutus of John Howard Payne, it was nobly worn. He was as -modest, as simple, and as manly in character as are the characters he -represented on the stage. Unhappily, mental disease preceded -McCullough’s death, and during the last few years of his life those who -loved him best prayed for the rest which is here shown on his face. The -_post-mortem_ examination revealed a brain of unusual size and of very -high development. The death-mask was made by Mr. H. H. Kitson, of -Boston. - ------------------------------------------------------------------------- - -[Illustration: JOHN M’CULLOUGH] - ------------------------------------------------------------------------- - -[Illustration: DION BOUCICAULT] - ------------------------------------------------------------------------- - -Dion Boucicault, worn by age, died in the city of New York in the early -autumn of 1890. He was one of the most remarkably versatile men of the -century. He was a fairly good actor, an excellent stage-manager, an -ingenious stage-machinist, an admirable judge of plays and of the -capacities of the men about him, the most entertaining of companions, a -man of quick wit, of restless personality, and the author and adapter, -perhaps, of more dramatic productions, good and bad, than any man who -ever lived. The cast of the head of Boucicault was made the day after -his death, by Mr. J. Scott Hartley, of New York. - -Of the masks of Lawrence Barrett and of Henry Edwards I can hardly trust -myself to speak here or yet. My personal friendship with them was so -intimate, my affection so strong, and their taking away so recent, that -I can only look upon the casts of their dead faces as I looked upon the -dead faces themselves a few months ago, and grieve afresh for what I -have lost. - -Mr. William Winter, who knew Barrett long and well, has spoken of “his -stately head silvered during the last few years with graying hair, of -his dark eyes deeply sunken and glowing with intense light, of his thin -visage paled with study and with pain, of his form of grace, and of his -voice of sonorous eloquence and solemn music, one of the few great -voices of this present dramatic generation in its compass, variety, and -sweetness. His head was a grand head; his face beautiful in its spirit, -its bravery, and its strength.” As the Rev. John A. Chadwick finely said -of him in the _Christian Register_, “The noblest part he ever acted was -the part of Lawrence Barrett—an honest, brave, and kindly gentleman.” - ------------------------------------------------------------------------- - -[Illustration: LAWRENCE BARRETT] - ------------------------------------------------------------------------- - -Mr. Barrett was one of the little party who were with Mr. Booth when the -idea of The Players was first conceived, and who helped their friend, -the Founder, to bring that association to its present perfected state. -Mr. Barrett was one of its legal incorporators; from the beginning until -his death he was a member of its governing body, and he was always -enthusiastic in his devotion to it, and to the objects for which Mr. -Booth had endowed it. At the annual celebration of the club, held upon -what is called “Founder’s Night,” December 31, 1890, Mr. Barrett read -aloud, and with a great deal of feeling, in the club-house, Mr. Thomas -Bailey Aldrich’s touching poem upon Mr. John S. Sargent’s portrait of -Mr. Booth, and it was noticed by many present that his voice faltered -when he spoke of - - “Others standing in the place - Where save as ghosts we come no more.” - -He was himself the first of those present to go to the Land of Shadows. -That his gentle spirit haunts the place, and will haunt it pleasantly -for many years to come, not one who knew and loved him there can for a -moment doubt. - -Henry Edwards was not only an actor but a man of science. He was -recognized as a distinguished entomologist by many persons on both sides -of the Atlantic who had never even heard of his theatrical career. He -left a magnificent collection of butterflies, now preserved in one of -the leading museums of America, and he contributed to the press of both -countries a number of valuable books and pamphlets upon the subject he -loved. His work upon the stage was uniformly good. As Mr. Winter said of -him, in a funeral oration, he did not astonish and dazzle; he satisfied. -He excelled in the representation of rough pathos, of bluff good-humor, -and of honest indignation. He had a frank, expressive, cheerful face and -a hearty voice. He was a man of genuine, healthy honesty and simplicity, -who left behind him many warmly attached friends. He was sympathetic and -always interested in anything that interested the men about him. Many a -time has he studied, discussed, and moralized over, the collection which -now, alas! contains the cast of his own dead face. The mask was made by -Mr. J. Scott Hartley. - -A death-mask of Booth was taken under the direction of Mr. Augustus St. -Gaudens. Although there is about it nothing which is distressing or -unpleasant, his family and his friends prefer to have it withheld from -the public gaze. The life-mask which, by the courtesy of The Players, -prefaces this volume, was made by Mr. John Rogers in 1864, when Booth -was in the thirtieth year of his age, and in the zenith of his strength -and his beauty. - ------------------------------------------------------------------------- - -[Illustration: HENRY EDWARDS] - ------------------------------------------------------------------------- - -Mrs. Asia Booth Clarke wrote of her brother in 1857: “He had come back -[from California] older in experience only, for he looked a boy still, -and very fragile; his wild black eyes and long locks gave him an air of -melancholy. He had the gentle dignity and inherent grace that one -attributes to a young prince; yet he was merry, cheerful, and boyish in -disposition, as one can imagine Hamlet to have been in the days before -the tragedy was enacted in the orchard.” - -Mr. Barrett, who supported him in New York a few months later, said: “A -slight, pale youth, with black, flowing hair, soft brown eyes, full of -tenderness and gentle timidity, a manner mixed with shyness and quiet -repose, he took his place [at the first rehearsal] with no air of -conquest or self-assertion, and gave his directions with a grace and -courtesy which never left him.” - -Mr. Irving, recalling his earliest associations with Booth in -Manchester, in 1861, has told me that the young actor seemed to him at -that time to be the most magnificent specimen of intellectual manhood he -had ever seen. And George William Curtis, writing in 1864, said: “Booth -is altogether princely. His costume is still the solemn suit of sables, -varied according to his fancy of greater fitness; and his small, lithe -form, with the mobility and intellectual sadness of his face, and his -large, melancholy eyes, satisfy the most fastidious imagination that -this is Hamlet as he lived in Shakspere’s time.” - -Mrs. M. E. W. Sherwood, speaking of him when he was in his perfect -prime, in the part of Othello alludes to “that dark face to which the -Eastern robe was so becoming, seeming at once to be telling its mighty -story of adventure and conquest. It was a proud and beautiful face. -Desdemona was not worthy of it.” - -Booth’s face was to me one of the most beautiful and most lovable that I -ever looked upon. - -The only feminine heads in the collection graced once the shoulders of a -trio of queens, a Queen of Tragedy, a Queen of Prussia, and a Queen of -Song. The mask of Mrs. Siddons is in the possession of Mr. Percy -Fitzgerald. It is generally accepted as having been taken from the -actual face of the great actress, but its pedigree or its history Mr. -Fitzgerald does not know. - -A bust of Mrs. Siddons by J. Smith, 57 Upper Norton Street, Marylebone, -was exhibited in the Model Room of the Royal Academy in 1813, the year -before she retired from the stage. Mr. Edward W. Hennell has an -autograph letter of Mrs. Siddons, undated and addressed simply “Sir,” -but written, evidently, to this artist and referring to this bust. In it -she says, “The time is drawing near which will bring my labors to an -end, and I shall then hope to be able to indulge myself in many -gratifications of which they have hitherto deprived me, and among which -that of visiting your study will stand very forward.” - ------------------------------------------------------------------------- - -[Illustration: EDWIN BOOTH] - ------------------------------------------------------------------------- - -It is not improbable that Smith made a cast of Mrs. Siddons’s face, a -common occurrence in those days, although unfortunately no such -occurrence is recorded by Mrs. Siddons herself, or by any of her -biographers. - -The present cast is believed by experts to have been taken from life, -and at about the time of her retirement. It shows, in a marked degree, -the peculiar thickness of the underlip remembered by persons still -living who remember Mrs. Siddons, and noticeable in the portraits of all -the Kembles of her generation, particularly in those of the great -actress herself. The cast resembles strongly an unfinished sketch of her -in the South Kensington Museum, made in her old age by an unknown -artist, and it is not unlike the bust she made of herself, now in the -Dyce Library in the same institution. Other features of Mrs. Siddons -were as prominent as her under-lip; Gainsborough is said to have -remarked to her once, in a fit of almost inspired courage, “Damn your -nose, madam, there is no end to it!” and she herself is reported to have -said that “the jaw-bone of the Kembles is as notorious as the jaw-bone -used by Samson.” - ------------------------------------------------------------------------- - -[Illustration: MRS. SIDDONS] - ------------------------------------------------------------------------- - -The personal appearance of Mrs. Siddons has many times been described, -but, curiously enough, none of her contemporaries allude to this unusual -development of the lower lip. Mr. Fitzgerald says of her first -appearance: “The audience saw a frail, delicate-looking, but pretty -creature, tottering towards them rather than walking.... The criticism -of the pit amounted to this, ‘that she was a pretty, awkward, and -interesting creature—frightfully dressed.’” The London _Morning Post_, -speaking of the event, said: “Her figure is a very fine one; her -features are beautifully expressive; her action is graceful and easy, -and her whole deportment that of a gentlewoman.” Thomas Davies wrote -later: “Just rising above the middle stature, she looks, walks, and -moves like a woman of superior rank. Her countenance is expressive, her -eye so full of information that the passion is told from her look before -she speaks.” Madame d’Arblay, in her _Diary_ (December 15, 1782), wrote -that “she behaved with great propriety; very calm, modest, quiet and -unaffected. She has a very fine countenance, and her eyes look both -intelligent and soft.” Leigh Hunt said, “I did not see her, I believe, -in her best days; but she must always have been a somewhat masculine -beauty.” Peter Irving wrote to his brother Washington in 1813: “I was -surprised to find her face, even at the near approach of sitting by her -side, absolutely handsome, and unmarked by any of those wrinkles which -generally attend advanced life. Her form is at present becoming -unwieldy, but not shapeless, and is full of dignity. Her gestures and -movements are eminently graceful.” Two years later George Ticknor wrote: -“She is now, I suppose, sixty years old, and has one of the finest and -most spirited countenances and one of the most dignified and commanding -persons I ever beheld. Her portraits are very faithful as to her general -air and outline, but no art can express or imitate the dignity of her -manner, or the intelligent illumination of her face.” And John Howard -Payne said of her about the same period, 1817: “The grace of her person, -the beauty of her arms, the mental beauty of her face, the tragic -expression of her voice, and the perfect identification with the -character [Mrs. Beverley] left nothing for me to wish for. In these she -was so great that even her unwieldy figure, which at first somewhat -annoyed me, was soon forgotten.” - -In 1783 Mrs. Siddons called on Dr. Johnson at Bolt Court, and he gave to -Mrs. Thrale an account of how she impressed him by her “modesty and -propriety.” He says they “talked of plays,” but, unfortunately, he does -not permit himself to say what he thought of her nose or her mouth or -her jaw. - -The beautiful Louise of Prussia, mother of the first Emperor William of -Germany, lies in the family mausoleum at Charlottenburg, and the cast of -her dead face, with that of Frederick the Great and of others of their -distinguished countrymen and countrywomen, is preserved in the Museum of -Berlin. Her last illness was severe and painful, but her attendants have -left on record the fact that in her rare intervals of relief from -suffering “she was very tranquil, and lay looking like an angel;” that -“the countenance was beautiful in death, particularly the brow; and that -the calm expression of the mouth told that the struggle was forever -past.” - -At the age of sixteen she was thus described: “She was like her sister -Charlotte—had the same loving blue eyes, but the expression changed more -quickly with the feeling or thought of the moment. Her soft brown hair -still retained a gleam of the golden tints of childhood; her fair, -transparent complexion was, in the bloom of its exquisite beauty, -painted by nature as softly as were the roses she gathered and enjoyed. -The princess was tall and slight, and graceful in her movements. This -grace was not merely external; it arose from the inner depths of a pure -and noble mind, and therefore was so full of soul.” - ------------------------------------------------------------------------- - -[Illustration: LOUISE OF PRUSSIA] - ------------------------------------------------------------------------- - -Madame Malibran, the Queen of Song, died in Manchester, England, in -1836. The mask here reproduced came, perhaps, from the collection of -George Combe, who visited America a few years later. - -In _The Memoirs of Malibran_, by the Countess de Merlin, is the emphatic -statement that out of respect to the wishes of M. de Beriot, the husband -of Malibran, no posthumous sketch or cast of her face of any kind was -taken. M. Edmond Cottinet, however, in a private note to Mrs. Clara -Bell, wrote: “When Madame Malibran died I was very young, but I remember -distinctly hearing my mother told that de Beriot, the husband of her -friend, had taken her mask, and that it had helped him to execute the -crowned bust of the great singer which now decorates the private cabinet -of her son. His bust, nevertheless, is not a good likeness, nor is it -agreeable. But it is a touching proof of the love of the widower. Is it -not wonderful that simply by the force of this love a musician should -have been transformed into a sculptor? This was M. de Beriot’s only work -in this line of art.” Later, M. Cottinet, having seen a photograph of -the mask, added: “It is she! The first moment I saw it I recognized it, -with feelings of profound emotion and tender pity. It is she, with her -slightly African type, containing, perhaps, a little negro blood (her -father, Garcia, being of Spanish-Moorish descent). It is she as death -found her, her face ruined by that terrible fall from her horse.... It -is undoubtedly the mask from which her husband made the bust, which did -not seem to be as charming as she was. Mr. Hutton may be perfectly -satisfied that he possesses an authentic cast.” - ------------------------------------------------------------------------- - -[Illustration: MARIA F. MALIBRAN] - ------------------------------------------------------------------------- - -The head of Schiller has lain as uneasily since his death as if he had -worn a crown, or, like Cromwell, had rejected one. The story of its -posthumous wanderings is very grewsome. It is told at length by Emil -Palleske in his _Life of Schiller_, and at greater length by Mr. Andrew -Hamilton. The poet left a widow and family almost friendless and almost -penniless; his brother-in-law Wolzogen was absent, and Goethe lay very -ill. A cast of Schiller’s head was taken by Klauer; and his body, -hurriedly put into a plain deal coffin of the cheapest kind, was buried -in a public vault, with nothing to designate whose body it was, and -without the utterance of a word or a note of requiem. Twenty-one years -later, as was the custom of the place, this public vault was emptied, -and the bones it contained were scattered to make room for a new -collection. Friends of Schiller, after great and unpleasant labor, -gathered together twenty-three of these dishonored skulls, from which -they selected as Schiller’s that one “which differed enormously from all -the rest in size and shape;” they compared it with Klauer’s cast, and -accepted its identity. It was then deposited, with no little ceremony, -in the hollow pedestal containing Dannecker’s colossal bust of Schiller -in the Grand Ducal Library at Weimar. Goethe, however, desiring to -recover more of the mortal part of his friend, had the head removed -again and fitted to the rest of the bones of the body. These bones were -deposited also in the Library, and the head put back in its pedestal. In -1827, at the suggestion of Louis of Bavaria, the head and the trunk were -reunited and placed in a vault which the grand duke had built for -himself and for his own family; and there, by the side of Goethe, who -joined him in 1832, Schiller still rests. - -Palleske, describing Schiller’s death, says: “Suddenly an electric shock -seemed to vibrate through him, the most perfect peace lit up his -countenance, his features were those of one calmly sleeping.” And this -is the impression his death-mask gives. - -Carlyle in one of his flash-light pictures thus photographed -Schiller—the negative was found in the Commonplace-book of the late Lord -Houghton—“He was a man with long red hair, aquiline nose, hollow cheeks, -and covered with snuff.” - -A strange uneasiness seems to have possessed the bones of many of the -great composers. Mozart’s skull is said to be in the possession of Prof. -Hyrtl, the famous anatomist of Vienna, who proposes to bequeath it to -the Mozarteum at Salzburg. Mozart, like Schiller, was buried by an -impoverished family in a grave unmarked save by a musical grave-digger, -who secured the head—according to what seems to be very vague -tradition—ten years later, and kept it, so long as he himself lived, in -a cupboard in his humble lodgings in the precincts of the Cemetery of -St. Marx. From him it passed to a second grave-digger, also musical, -from whom it came into the possession of the Hyrtls. Those who have -examined it, however, say that it has none of the peculiarities which, -according to the existing theories of phrenology, should mark the -presence of musical genius. And these peculiarities, strangely enough, -are said to have been lacking in the skulls of Haydn, Schubert, and -Beethoven, each of which, like the skulls of Mozart and Schiller and of -Shakspere’s Yorick, had a tongue in it, and could sing once; and each -seems to have been knocked about the mazzard with a sexton’s spade, and -to have been used to point a moral, and, perhaps, even to stop a -bunghole. - ------------------------------------------------------------------------- - -[Illustration: FREDERICK SCHILLER] - ------------------------------------------------------------------------- - -Haydn’s skull, it may be mentioned, is believed to be in the possession -of the family of an eminent physician in Vienna. The rest of his body, -originally buried in Hundsthurn church-yard, now lies in the parish -church of Eisenstadt. - -Beethoven’s bones seem to have been disturbed but twice. His grave, in -the Währing Cemetery at Vienna, having become almost uninhabitable from -long neglect, he was reburied in the same spot in 1863; and in 1888 he -was removed to the Central Cemetery of Vienna. - -Beethoven’s head is described, by those who knew him in life, as having -been uncommonly large. His forehead was high and expanded. His eyes, -when he laughed, seemed to sink into his head, although they were -distended to an unusual degree when one of his musical ideas took -possession of his mind. His mouth was well-formed; his under-lip -protruded a little; his nose was rather broad. According to one -authority “his skull [at the time of the exhumation in 1863] was -discovered to be very compact throughout, and about an inch thick;” -according to another authority it was “a small skull, and might have -been supposed to belong to a man of restricted intellect, rather than to -a genius like the great master.” - -Mr. Philip Hale, in _Famous Composers and their Works_, says: “The -dimensions of the forehead were extraordinary; in height the forehead -came next to that of Napoleon, and in breadth it surpassed it. His face -was strong and sombre, and while it was not without ugliness it was -expressive. The head was built stoutly throughout. The nose was thick, -the jaw was broad, the mouth was firm and with protruding lips; the -teeth were white, well-shaped, and sound, and when he laughed he showed -them freely; the square chin rested on a white cravat. The greater -number of pictures of Beethoven are idealized.” - ------------------------------------------------------------------------- - -[Illustration: LUDWIG VON BEETHOVEN—From Life] - ------------------------------------------------------------------------- - -[Illustration: LUDWIG VON BEETHOVEN—From Death] - ------------------------------------------------------------------------- - -Beethoven’s left ear-shell, it is said, is preserved in the cabinet of -curiosities of a musical family in England. The mask of his face is one -of the few casts of notable men to be found in the Museum of the British -Phrenological Association in Ludgate Circus, London. It reposes, in -plaster, in that institution, by the side of the cast of the head of -Richard Brinsley Sheridan. - -Two masks of Beethoven are in existence. The first was taken from life -by Franz Klein in 1812, when the subject was in his forty-second year. -Mr. Hale considers this “and the bust made after it by the same artist -as of the first importance in forming a correct judgment of the value of -all the portraits of Beethoven.” The second mask was made by Dannhauser, -on March 28, 1827, two days after Beethoven died. Both casts are here -reproduced. - -Beethoven was fond of telling the following story about himself. It will -give a very fair idea of what he considered to be the size of his own -cranium. Meeting the entire Imperial Family of Austria, on one occasion, -at Töplitz, in the summer of 1812, “I pressed my hat down on my head,” -he said, “buttoned up my great-coat, and walked with folded arms through -the thickest of the throng; princes and pages formed a line—the Archduke -Rudolph took off his hat, and the Emperor made the first salutation. -Those gentry know me!” - -It is hardly to be wondered at that Goethe, who was his companion, -should have been made very uncomfortable by the display of what looks -like a piece of impertinence, even to republican eyes, and even at the -end of three-quarters of a century of enlightenment. It is pleasant to -read that royalty itself was highly amused by the whole performance. - -Perhaps the best pen-picture of Mendelssohn in existence is that taken -by Bayard Taylor, who wrote that “his eyes were dark, lustrous, and -unfathomable. They were black, but without the usual opaqueness of black -eyes; shining, not with a surface light, but with a pure serene -planetary flame. His brow, white and unwrinkled, was high and nobly -arched, with great breadth at the temples, and strongly resembling that -of Poe. His nose had the Jewish prominence, without its usual -coarseness; I remember particularly that the nostrils were as finely cut -and as flexible as an Arab’s. The lips were thin and rather long, but -with an expression of undescribable sweetness in their delicate curves. -His face was a long oval in form, and the complexion pale, but not -pallid. As I looked upon him I said to myself—‘The Prophet David!’” - ------------------------------------------------------------------------- - -[Illustration: FELIX MENDELSSOHN] - ------------------------------------------------------------------------- - -Lampadius, in his _Life of Mendelssohn_, said of the composer’s death: -“His features soon assumed an almost glorified expression. So much he -looked like one in sleep that some of his friends thought that it could -not be death, an illusion which is often given to the eye of love. His -friends Bendemann and Hübner took a cast of his features as he lay.” - -A clever Frenchman said not long since, in the Paris _Gaulois_, that the -Pantheon is nothing but a Grand Hotel, in which the distinguished guests -find a temporary lodging-place, and then, like other transients, give up -their rooms to somebody else. Mirabeau, Marat, Rousseau, and Voltaire -boarded there for a time, and then surrendered their apartments, which -are now occupied by Victor Hugo and a few men of no literary, artistic, -or political importance; all of whom will, no doubt, in their turn, and -before many years, be forced to find some second-class _pension_, where -the rates are lower and the service is bad. - -It was discovered lately that Mirabeau had again changed his quarters, -and that his present address cannot be ascertained. He was carried in -great pomp, and with many porters and in many ’busses, to the Pantheon, -in 1791; but with Marat he was “de-Pantheonized by order of the National -Convention” a year or two later. Marat’s body was thrown into a common -sewer in the Rue Montmartre; that of Mirabeau was placed, with no pomp -whatever, in the cemetery of Saint-Marcel, the criminals’ -burying-ground, where, now that it is wanted once more—this time for -honorable disposal—it cannot be found. Mirabeau’s is the face of a man -perfectly satisfied with his own achievements and with his own personal -appearance. He believed, and he was courageous enough to say, that pure -physical beauty in man could only exist in a face which was pitted with -small-pox, his own being so marked! And he looks here as if his last -thought in life had been one of profound admiration for himself. An -eye-witness of his funeral said to one of his biographers that, “except -a single trace of physical suffering, one perceived with emotion the -most noble calm and the sweetest smile upon that face, which seemed -enwrapped in a living sleep, and occupied with an agreeable dream.” - ------------------------------------------------------------------------- - -[Illustration: G. R. MIRABEAU] - ------------------------------------------------------------------------- - -Marat and Robespierre are among the most enigmatical productions of a -very enigmatical movement. During their lives they were not very -beautiful in conduct nor very amiable in character; but the casts taken -of their faces after their uncomfortable deaths are quiet and peaceful, -and the effect they produce is one of loving rather than loathing. In -the mask of each the cerebral development is small, especially in the -region of the frontal bone; and phrenological experts who have examined -them say that their development, or lack of development, taken with -their facial traits, indicates ill-balanced minds. - -Marat’s face, as David painted him, is that of a North-American Indian -with a white skin. The contemporary portraits of Robespierre, on the -other hand, represent a mild-mannered man of severe and pensive -expression. According to Lamartine, “his forehead was good, but small, -and projecting over the temples, as if enlarged by the mass and -embarrassed movements of his thoughts. His eyes, much veiled by their -lids, and very sharp at the extremities, were deeply buried in the -cavities of their orbits; they were of a soft blue color. His nose, -straight and small, was very wide at the nostrils, which were high and -too expanded. His mouth was large, his lips thin and disagreeably -contracted at each corner, his chin small and pointed. His complexion -was yellow and livid. The habitual expression of his face was the -superficial serenity of a grave mind, and a smile wavering betwixt -sarcasm and sweetness. There was _softness_, but of a sinister -character. The dominant characteristic of his countenance was the -prodigious and continued tension of brow, eyes, mouth, and all the -facial muscles.” - -The masks of Mirabeau, Marat, and Robespierre are known to have been -taken, in each case, after death, “by order of the National Assembly.” -Those of Marat and Robespierre in my collection are identical with the -wax effigies in the “Chamber of Horrors” in Madame Tussaud’s gallery in -London, her catalogue asserting that they are “authentic;” and very fine -casts of Mirabeau and Marat are in the Musée Carnavalet in Paris, the -latter hanging under David’s portrait of Marat, painted from nature -immediately after the assassination. - ------------------------------------------------------------------------- - -[Illustration: JEAN PAUL MARAT] - ------------------------------------------------------------------------- - -[Illustration: MAXIMILIAN ROBESPIERRE] - ------------------------------------------------------------------------- - -The contemporaries of Sir Isaac Newton, like those of Kean, were all so -much impressed by what he knew and by what he did, that they seldom -thought of posterity as caring to know how he looked, either in life or -in death. From many different sources, however, we learn, in a -fragmentary way, that he was “short but well-set, and inclined to be -corpulent;” that “he had a very lively and piercing eye;” that “his hair -was abundant and white as silver, without any baldness, and when his -peruke was off was a venerable sight;” that “he was a man of no very -prominent aspect;” that “his face was almost square, and that his chin -had unusual width;” that “although he reached the great age of -eighty-four, he retained until the last almost all of his teeth;” and -that “his countenance was mild, pleasant, and comely.” Bishop Atterbury -said, “in the whole air of his face and make there was nothing of that -penetrating sagacity which appears in his compositions. He had something -rather languid in his look and manner, which did not raise any very -great expectation in those who did not know him;” and Dr. Humphrey -Newton, who was his assistant and amanuensis, said that during the many -years of their intimate association he never knew him to laugh but once! - -His death was not without pain, and his mask will not be recognized -readily by those who are familiar with his face as pictured and -sculptured with his peruke on. - -If Sir David Brewster’s account of Newton’s life be the true one, he was -as good as he was great, and nothing can be added to that. His portraits -by Lely, Kneller, and other famous painters still exist in different -parts of Great Britain. - -The terra-cotta bust of Newton, from the hand of Roubilliac, is in the -British Museum. His bust and full-length statue in marble, by the same -artist, belong to Trinity College, Cambridge. They were both, as is well -known, based upon this mask of his face, taken after death, the original -of which, made by Roubilliac, is now in the rooms of the Royal Society, -at Burlington House in London. It was presented to that institution in -1829 by Samuel Hunter Christie, and the officers of the society have no -doubt of its authenticity. Mr. Christie found it by accident in the shop -of a dealer in statuary, whose father had purchased it at the sale of -Roubilliac’s effects more than half a century before. The dealer parted -with it for a few shillings, although he was satisfied that it was the -mask of Newton, and by Roubilliac. Charles Richard Weld, in his _History -of the Royal Society_, gave a steel engraving of it, and declared that -“it presents all the characteristic features of the Society’s former -illustrious president.” Only a few copies of it are known to exist, and -it is one of the most valuable and important masks in my collection. - ------------------------------------------------------------------------- - -[Illustration: SIR ISAAC NEWTON] - ------------------------------------------------------------------------- - -Roubilliac’s mask of Alexander Pope was one of the cherished possessions -of Samuel Rogers, but its present whereabouts I have not been able to -discover. - -The contrasts between the profoundest of England’s philosophers and the -bravest of her bruisers are as marked in an intellectual as in a -physical way. Ben Caunt, the pugilist, died in London in 1861, -universally respected. He was, during the later years of his life, -proprietor of the Coach and Horses, a public-house in St. Martin’s Lane, -much frequented by his old pupils, and by all the prominent patrons of -the prize-ring. He came to America in the early Forties, giving a series -of exhibitions throughout the country, but never engaging in any serious -encounter here. He was a leader in his own profession, and at one time, -perhaps, the best-known man in all England. His portrait, which once -adorned the walls of cottage and palace, is still to be found in Miles’s -_Pugilistica_, taken at the period of his famous fight with “Bendigo” in -1842. His head is certainly a strong one, and, in a phrenological way, -he was better than many of the men among his contemporaries who did -better things. - -Thackeray, like most Anglo-Indian infants, was sent, when he was about -five years of age, to the mother-country for mental and physical -nourishment. An aunt, with whom he lived, discovered the child one -morning parading about in his uncle’s hat, which exactly fitted him. -Fearing some abnormal and dangerous development of the brain, she -carried him at once to a famous physician of the day, who is reported to -have said, “Don’t be afraid, madam; he has a large head, but there’s a -good deal in it!” How much was in it subsequent events have certainly -proved. His brain, when he died, fifty-three years later, weighed -fifty-eight and a half ounces. In 1849 or 1850, Charlotte Brontë wrote -of Thackeray: “To me the broad brow seems to express intellect. Certain -lines about the nose and cheek betray the satirist and cynic; the mouth -indicates a childlike simplicity—perhaps even a degree of irresoluteness -in consistency—weakness in short, but a weakness not unamiable.” And -Motley, writing to his wife in 1858, said: “I believe you have never -seen Thackeray; he has the appearance of a colossal infant, smooth, -white, shining ringlety hair, flaxen, alas! with advancing years; a -roundish face, with a little dab of a nose, upon which it is a perpetual -wonder how he keeps his spectacles.” This broken nose was always a -source of amusement to Thackeray himself; he caricatured it in his -drawings, he frequently alluded to it in his speech and in his letters, -and he was fond of repeating Douglas Jerrold’s remark to him when he was -to stand as godfather to a friend’s son—“Lord, Thackeray, I hope you -won’t present the child with your own mug!” - ------------------------------------------------------------------------- - -[Illustration: BEN. CAUNT] - ------------------------------------------------------------------------- - -[Illustration: WILLIAM MAKEPEACE THACKERAY] - ------------------------------------------------------------------------- - -It is not pleasant to look upon the face of Thackeray—the face of which -we love to think so pleasantly—as distorted by death. He was found dead -in his bed on the morning of December 24, 1863:—“So young a man,” as -Dickens wrote, “that the mother who blessed him in his first sleep -blessed him in his last. The final words he corrected in print,” -continued Dickens, “were—‘And my heart throbbed with an exquisite -bliss.’ God grant that on that Christmas eve when he laid his head back -on his pillow, and threw up his arms as he had been wont to do when very -weary, some consciousness of duty done, and Christian hope throughout -life humbly cherished, may have caused his heart so to throb when he -passed away to his Redeemer’s rest!” “And, lo,” said Thackeray himself -once, of the most beautiful character in all fiction, his own Thomas -Newcome—“And, lo, he whose heart was as that of a little child had -answered to his name, and stood in the presence of The Master!” - -“We think of Thackeray,” wrote Dr. John Brown, of Edinburgh, “as of our -Chalmers, found dead in like manner: the same childlike, unspoiled, open -face, the same gentle mouth, the same spaciousness and softness of -nature, the same look of power. What a thing to think of—his lying there -alone in the dark, in the midst of his own mighty London; his mother and -his daughters asleep, and, it may be, dreaming of his goodness. Long -years of sorrow, labor, and pain had killed him before his time. It was -found after death how little life he had to live. He looked always fresh -with that abounding silver hair, and his loving, almost infantile face; -but he was worn to a shadow, and his hands wasted as if by eighty -years.” - -The cast of Thackeray’s face was made by Brucciani on that sad Christmas -morning, at the request of Dr., now Sir, Henry Thompson; and a cast of -his right hand was made at the same time—that honest, faithful, -beautiful, wasted right hand, which - - “never writ a flattery, - Nor signed the page that registered a lie.” - ------------------------------------------------------------------------- - -[Illustration: THOMAS CHALMERS] - ------------------------------------------------------------------------- - -Thomas Chalmers was another man of great heart and of great head. He -died, as we have seen, as Thackeray died, without warning, but without -pain or conflict. He was discovered sitting half erect in his bed, his -head reclining quietly on his pillow, the expression of his countenance -that of fixed and majestic repose. He had responded cheerfully when his -name was called. Thackeray heard the summons evidently in a moment of -physical distress; but his “_Adsum_” was just as ready, and no doubt it -was quite as willingly uttered. - -“In height and breadth and in general configuration,” wrote Julian -Charles Young, “Dr. Chalmers was not unlike Coleridge. I have, since I -knew Coleridge, sometimes thought that if Chalmers’s head had been -buried from sight, I could easily have mistaken him for that remarkable -man. His face was pallid and pasty, and, I rather think, showed slight -traces of small-pox. His features were ordinary; his hair was scanty, -and generally roughed, as if his fingers had often passed through it; -his brow was not high, but very broad, and well developed. His skull, -phrenologically speaking, argued great mathematical power, but showed -deficiency in the very qualities for which he was conspicuous, namely, -benevolence and veneration.” - -Concerning Coleridge, Young wrote: “His general appearance would have -led me to suppose him a dissenting minister. His hair was long, white, -and neglected; his complexion was florid; his features were square; his -eyes watery and hazy; his brow broad and massive; his build uncouth; his -deportment grave and abstracted.” - -Charles Cowden Clarke, in his _Recollections_, spoke of Coleridge as -“large-presenced, ample-countenanced, grand-foreheaded,” and said that -“the upper part of his face was excessively fine. His eyes were large, -light gray, prominent, and of a liquid brilliancy. The lower part of his -face was somewhat dragged, indicating the presence of habitual pain; but -his forehead was prodigious, and like a smooth slab of alabaster.” Leigh -Hunt likened his brow to “a great piece of placid marble,” and added -that even in his old age “there was something invincibly young in the -look of his face.” “This boylike expression” he considered “very -becoming in one who dreamed and speculated as Coleridge did when he was -really a boy, and who passed his entire life apart from the rest of the -world with a book and his flowers.” - ------------------------------------------------------------------------- - -[Illustration: SAMUEL TAYLOR COLERIDGE] - ------------------------------------------------------------------------- - -Carlyle’s portrait of Coleridge is peculiarly in the Carlylian vein. -“Figure a fat, flabby, incurvated personage, at once short, rotund, and -relaxed; with a watery mouth; a snuffy nose; a pair of strange brown, -timid, and yet earnest-looking eyes; a high tapering brow; and a great -brush of gray hair—and you have some faint idea of Coleridge.” - -Coleridge himself was not more flattering to Coleridge. In 1796 he wrote -to John Thelwall: “My face, unless when animated by immediate eloquence, -expresses great sloth, and great, indeed almost idiotic, good-nature. -’Tis a mere carcass of a face, fat, flabby, and expressive chiefly of -inexpression. Yet I am told that my eyes, eyebrows, and forehead are -physiognomically good.” - -Mrs. Sara Coleridge, in her _Memoir_, gave a long account of Coleridge’s -death and burial, in which she said that “his body was opened, according -to his own urgent request;” but, as usual in such cases, she did not -allude to the making of any cast of his face or head. - -Mr. Ernest Hartley Coleridge, however, the son of Derwent Coleridge, who -is preparing a _Life_ of his illustrious grandfather, writes, in a -private note: “My mother used to tell me that the bust in her possession -was by Spurzheim, and was taken from a death-mask; but with regard to -Spurzheim, she must have been in error, as he died before Coleridge. -Lord Coleridge says that the bust in _his_ possession is by Spurzheim, -and was taken from a cast of the poet’s features; but whether he falls -into the same error as my mother did, I cannot say. It is, of course, -possible that Spurzheim took a life-cast from Coleridge’s face.” - -Mr. Ernest Coleridge is inclined to accept the authenticity of the mask -in my collection. It certainly bears a strong resemblance to the two -busts of which he writes, as well as to the portrait by Allston, now in -the National Portrait Gallery in London. - -Carlyle said that “Wordsworth’s face bore marks of much, not always -peaceful, meditation; the look of it not bland or benevolent so much as -close, impregnable, and hard.” S. C. Hall wrote that “his eyes were mild -and up-looking; his mouth coarse rather than refined; his forehead high -rather than broad;” while Greville put it more tersely when he described -him as “hard-featured, brown, wrinkled, with prominent teeth, and a few -scattered gray hairs.” Leigh Hunt said, in his _Autobiography_: -“Certainly I never beheld eyes that looked so inspired or supernatural -[as Wordsworth’s]. They were like fires half burning, half smouldering, -with a sort of acrid fixture of regard, and seated at the further end of -two caverns. One might imagine Ezekiel or Isaiah to have had such eyes.” - ------------------------------------------------------------------------- - -[Illustration: WILLIAM WORDSWORTH] - ------------------------------------------------------------------------- - -Wordsworth reminded Hazlitt “of some of Holbein’s heads—grave, -saturnine, with a slight indication of sly humor, a peculiar sweetness -in his smile.” Elsewhere Hazlitt spoke of his “intense high, narrow -forehead, Roman nose, cheeks furrowed by strong purpose, and a -convulsive inclination to laughter about his mouth, which was a good -deal at variance with the solemn and stately expression of the rest of -his face.” And Sir Humphry and Lady Davy, who were at Wordsworth’s -funeral, were both struck by the likeness of his face, in the deep -repose of death, to that of Dante. The expression, they thought, was -much more feminine than it had been in life, and it suggested strongly -the face of his devoted sister, with whom so many of his years had been -spent. - -Haydon, in his _Journal_, April 13, 1815, wrote: “I had a cast made -yesterday of Wordsworth’s face. He bore it like a philosopher. He sat in -my dressing-gown with his hands folded; sedate, solemn, and still.” And -then Haydon described how, through the open door, he exhibited the -unconscious poet, undergoing this unbecoming operation, to curious but -disrespectful friends of them both. - -Another account of this performance shows us Wordsworth flat on his back -on the studio floor, with Charles Lamb dancing about him, and making -absurd remarks in order to force the poet to smile, and so spoil the -mask. All of which was very characteristic of that “dear delightful,” -“poor creature” who was despised by Carlyle, and who was naturally loved -by everybody else. What would we not give now for a mask of Lamb -himself, dead or alive? - -All this happened when Wordsworth was forty-two years of age, and -thirty-five years before he died. Sir Henry Taylor in his -_Autobiography_, spoke, shortly after the poet’s death, of “a cast taken -of a mask of Wordsworth.” He considered it admirable as a likeness, and -added that it was so regarded by Mrs. Wordsworth. He saw “a rough -grandeur in it, with which, if it was to be converted into marble, -posterity might be contented.” But he does not say whether it was a -life-mask or a death-mask, and he does not refer to the Haydon mask as -such. In no other work, in no biography of Wordsworth, and in no account -of his last hours, is any allusion to the mask to be found. The face -here reproduced is, without question, that of Wordsworth. It suggests -the Wordsworth of middle age; it strongly resembles the portraits -painted by Haydon; it is much too young in form and expression for the -senile Wordsworth of the well-known Fraser Gallery; and there is little -doubt of its being the work of Haydon alluded to above. Haydon is known -to have painted several portraits of Wordsworth, one of which exhibits -him in a Byron collar and another shows him with eyes rolling in fine -frenzy over the composition of a sonnet on one of Haydon’s own pictures. -Haydon also introduced Wordsworth as a devout disciple in his large work -called “Christ’s Entry into Jerusalem,” painted in 1818. - -Mr. John Gilmer Speed, in his _Memoirs of Keats_, presents an engraving -of “John Keats from the Life-Mask of Haydon in 1818,” and pronounces it -the most satisfactory of the likenesses of Keats that he has seen. In no -other of the _Lives_ of Keats is any allusion made to this mask; it is -not mentioned in any of the published letters to or from Keats, or in -_The Correspondence and Table-Talk of Haydon_. Joseph Severn, shortly -before he died, told Mr. Richard Watson Gilder that he _believed_ the -cast to have been the work of Haydon, and that he prized it as the most -interesting, as it is the most real and accurate, portrait of his friend -in existence; and through him were procured the few copies of it in this -country, one of which is here reproduced. Mr. Gilder considers it much -more agreeable than the death-mask must have been, for it not only -escapes the haggardness of death, but there is even, so it seems to him, -a suggestion of humorous patience in the expression of the mouth. “In -this mask,” he adds, “one has the authentic form and shape—the very -stamp of the poet’s visage.” And he calls attention to the fact of its -remarkable resemblance to more than one of the members of the Keats -family whom he has met. - ------------------------------------------------------------------------- - -[Illustration: JOHN KEATS] - ------------------------------------------------------------------------- - -Charles Cowden Clarke, who does not seem to have been aware of the -existence of the mask, said that the best portrait of Keats is the first -done by Severn himself, that which is engraved in Hunt’s _Lord Byron and -his Contemporaries_. Lord Houghton, in his _Life of Keats_, quoted the -description given him by a lady (probably Mrs. B. W. Procter), who -watched Keats in the Surrey Institute in London, listening to Hazlitt’s -course of Lectures on the British Poets, in the winter of 1817-18. “His -countenance,” she said, “lives in my mind as one of singular beauty and -brightness; it had an expression as if it had been looking at some -glorious sight. His mouth was full and less intellectual than his other -features.” Leigh Hunt drew his portrait more carefully. “Every feature -was at once strongly cut and delicately alive. If there was any faulty -expression, it was in the mouth, which was not without something of a -character of pugnacity. The face was rather long than otherwise; the -upper lip projected a little over the under; the chin was bold, the -cheeks sunken; the eyes mellow and glowing, large, dark, and sensitive; -his hair, of a brown color, was fine, and hung in natural ringlets. His -head was a puzzle for the phrenologists, being remarkably small in the -skull, a singularity which he had in common with Byron and Shelley, -whose hats I could not get on.” - -Mr. William Sharp quotes a letter of Joseph Severn, written a day or two -after the death of Keats, in which he said to Charles Armitage Brown, -“Yesterday a gentleman came to cast the face, hand, and foot” of Keats. -And on the 3d of April, 1821, John Taylor wrote to Severn from London -for “the mask, hand, and foot.” The later history of these interesting -casts I have never been able to learn. - -The original cast of the life-mask of Keats, made in Haydon’s studio, -and very much finer than any of the replicas of it, is in the possession -of the National Portrait Gallery in London. It was given by Keats -himself to his intimate friend John Hamilton Reynolds, just before Keats -went abroad to die. Reynolds bequeathed it to his sister, Miss Charlotte -Reynolds, by whom it was presented, with a clear pedigree, to the -trustees of the National Portrait Gallery. This cast, with the mask of -Cromwell, and a copy of the mask of Dr. Johnson, are, curiously enough, -the only life-masks or death-masks in the institution in question. - -The printed portraits of Johnson are very many. He himself said, once, -of the painting by Trotter, “Well, thou art an ugly fellow; but still, I -believe thou art like the original.” George Kearsley wrote that “his -face was capable of great expression, both in respect to intelligence -and mildness, as all those can witness who have seen him in the flow of -conversation, or under the influence of grateful feelings;” and Bishop -Percy wrote, “Johnson’s countenance, when in good humor, was not -disagreeable. His face clear, his complexion good, and his features not -ill-formed; many ladies have thought he might not have been unattractive -when young.” - ------------------------------------------------------------------------- - -[Illustration: SAMUEL JOHNSON] - ------------------------------------------------------------------------- - -The original of the mask of Johnson belongs to the Royal Literary Fund, -the secretary of which, Mr. A. Llewellyn Roberts, in giving his consent -to the reproduction of it here, writes as follows concerning it: “It was -taken from a cast after death, under the direction of Dr. Johnson’s -medical attendant, Mr. Cruikshanks, who informed his daughter, into -whose possession it came, that it was a remarkably correct likeness. -Unfortunately there is no record of the artist’s name, but it is alleged -that each member of Dr. Johnson’s family had a copy.” This particular -copy was given to the Royal Literary Fund by William Hutchins, who lived -in Hanover Square. There is no reference to the taking of the mask of -Johnson to be found in any of the editions of Boswell’s _Life_ of the -great lexicographer. - -Keats and Haydon first met in the house of Leigh Hunt in November, 1816, -and to their mutual delight. They became very intimate upon very short -acquaintance, and the poet was constantly to be found in the studio of -the painter; they vowed that they were dearer to each other than -brothers, and they prayed that their hearts might be buried together. -Naturally a friendship so enthusiastic in its beginning did not last -very long, and Haydon seems to have been most unjust in his reflections -upon Keats, written some time after Keats’s heart had been buried in -Rome—and alone! Haydon wrote in the first flush of his intimacy with -Keats: “Never have I had such irresistible and perpetual urgings of -future greatness. I have been like a man with air-balloons under his -arm-pits and ether in his soul; while I was painting, walking, or -thinking, beaming flashes of energy followed and impressed me—they came -over me, and shot across me, and shook me, till I lifted up my heart and -thanked God.” - ------------------------------------------------------------------------- - -[Illustration: BENJAMIN ROBERT HAYDON] - ------------------------------------------------------------------------- - -This is Haydon upon himself. Macaulay looked at him in a different -light. “Haydon,”—he wrote in his _Diary_ in 1853—“Haydon was exactly -the vulgar idea of a man of genius. He had all of the morbid -peculiarities which are supposed by fools to belong to intellectual -superiority—eccentricity, jealousy, caprice, indefinite disdain for -other men; and yet he was as poor, commonplace a creature as any in -the world. He painted signs, and gave himself more airs than if he had -painted the Cartoons. Whether you struck him or stroked him, starved -him or fed him, he snapped at your hand in just the same way!” - -In the _Memoir_ of Haydon by his son is a fine engraving of the -death-mask of Haydon, a replica of which is in my collection. This mask, -with that of Jeremy Bentham, was broken, as you here see them, by -careless Custom-house officers on their arrival in New York a few years -ago. - -James Parton quoted Burr as saying of Jeremy Bentham, “It is impossible -to conceive a physiognomy more strongly marked with ingenuousness and -philanthropy.” John Stuart Mill said of him that “he was a boy till the -last.” And at the age of eighty-two he himself wrote to an old friend: -“I am alive, though turned of eighty; still in good health and spirits; -codifying like a dragon.” “Candor in the countenance, mildness in the -looks, serenity upon the brow, calmness in the language, coolness in the -movements, imperturbability united with the keenest feeling:” such, -according to Brissot de Warville, were the characteristics of Bentham. - -Since St. Denis of France used to walk about with his head under his -arm, or used to sit about with his head in his lap, in the third century -of our Christian era, no _post-mortem_ performance is more grotesque -than that of Jeremy Bentham, who left his body by will to Dr. Southwood -Smith. The legatee was instructed to dissect it, and to deliver lectures -upon it to his medical students and to the public generally. After these -anatomical demonstrations a skeleton was to be made, and was made, of -the bones. Dr. Smith “endeavored to preserve the head untouched”—the -words are his own—“merely drawing away the fluids by placing it under an -air-pump over sulphuric acid. By this means the head was rendered as -hard as the skulls of the New-Zealanders, but all expression, of course, -was gone. Seeing this would not do for exhibition, I had a mould made in -wax by a distinguished French artist, taken from David’s bust, -Pickersgill’s picture, and my own ring. The artist succeeded in -producing one of the most admirable likenesses ever seen. I then had the -skeleton stuffed out to fit Bentham’s own clothes, and this was likewise -fitted to the trunk. The figure was placed seated on the chair in which -he usually sat, one hand holding the walking-stick which was his -constant companion when he went out, called by him ‘Dapple.’ The whole -was enclosed in a mahogany case with glass doors.” Bentham was wont to -amuse himself in his boyish old age with the vision of his presiding, as -it were, in proper person at meetings of his disciples, and he even used -to anticipate his being wheeled to the top of the table on festive -occasions! - ------------------------------------------------------------------------- - -[Illustration: JEREMY BENTHAM] - ------------------------------------------------------------------------- - -His figure as here described is still to be seen in the rooms of -University College, Gower Street, London. It is curious that Dr. Smith -did not go to the mask for a representation of Bentham’s actual face. -That such a mask was made, George Combe testified in the columns of the -London _Phrenological Journal_ a few years after Bentham’s death. He -said that it was in his own possession, and showed that “the knowing -organ was large and the reflective organs only full.” The mask, he said, -was very like the portrait of Bentham reproduced in Tait’s edition of -Bentham’s works. But he does not say whether it was a death-mask or the -life-mask known to have been made by Turnerelli, an Italian sculptor -living in London, in the early part of this century, and when Bentham -was not more than fifty years of age. He was eighty-five when he died. -This plaster mask of Bentham has been compared carefully with the wax -effigy in University College. The mouth, the cranial arch, the entire -upper part of the face, and the general shape of the head are very like, -although in the wax mask the chin is shorter and rounder, and the eyes, -of course, are open. - -The mask of Rossetti was made by Brucciani, after death. Only three or -four copies were cast, and the mould is in the possession of Mr. William -M. Rossetti, through whose courtesy I am able to reproduce it here, and -who writes: “I should say that my family and myself do not at all like -the version of my brother’s face presented by the mould and cast. In -especial, singular though it may sound, the dimensions of the forehead -seem wofully narrowed and belied. But of course, from a certain point of -view, the cast tells truth of its own kind.” - -Mr. Hall Caine, writing of his own copy of the mask, says: “I ought -perhaps to add that it does not give a good impression of Dante -Rossetti. The upper part of the head is very noble, but the lower part -is somewhat repellant.” - -A fourth copy belongs to Mr. George F. Watts, the painter, whose -portrait of Rossetti is so well known. - ------------------------------------------------------------------------- - -[Illustration: DANTE GABRIEL ROSSETTI] - ------------------------------------------------------------------------- - -An anonymous writer in _Blackwood’s Magazine_ for January, 1893, who -seems to have known Rossetti intimately, thus describes the head and -front of the poet: “He was short, squat, bull-doggish; he belonged to -the Cavour type, but the sallow face was massive and powerful. The -impression of solidity is somewhat toned down in Watts’s portrait, and -the face is thinner and more worn than when I knew him. Sleepless nights -and protracted pain may have changed him in later years and made the -ideal Rossetti more manifest. Except for the meditative, tranquil eye -(one thought of the ox-eyed Janus), there was nothing ideal about him. -He was intensely Italian, indeed, but it was the sleek and well-fed -citizen of Milan or Genoa that he recalled, not the slim and romantic -hero of Verdi or Donizetti.” - -Cavour, according to George Eliot, who once got a glimpse of him in an -Italian railway station, was a man pleasant to look upon, with a smile -half kind and half caustic. He gave her the impression that “he thought -of many matters, but thanked Heaven and made no boast of them.” -Elsewhere she said: “The pleasantest sight was Count Cavour in plainest -dress, with a head full of power, mingled with _bonhomie_.” - -Mr. O. M. Spencer, in _Harper’s Magazine_ for August, 1871, devotes much -space to the personal appearance of Cavour, who was, according to this -authority, “of medium stature, with a tendency to corpulency; quick and -energetic in his movements, with a forehead broad, high, and spacious; -his eyes were partially closed by weakness and still further concealed -by spectacles; his mouth not well formed and somewhat voluptuous, over -which played an ironical smile, the joint offspring of mirth and -disdain. Nevertheless, the _tout ensemble_ of his countenance was -expressive of benignity. Simple in his manners, though dignified in his -bearing, he would have been recognized anywhere as a sub-alpine country -gentleman, familiar with the usages of the court. Though of an -irascible, phosphoric temperament, he rarely or never lost his -self-control. Generous in his enmities and liberal in his friendships, -he was chary of his confidence and exclusive in his intimacies. It may -be that he was devoid of faith and affection, but he certainly loved -Italy, and believed in his own mission.” - -The death-mask of Cavour, and that of Pius IX., I found lying peacefully -side by side in a little plaster-shop in Rome in the autumn of 1893. The -Pope was assuredly not devoid of faith and affection; and if he loved -Italy less, it was only because he loved the Church of Rome more. - ------------------------------------------------------------------------- - -[Illustration: COUNT CAVOUR] - ------------------------------------------------------------------------- - -[Illustration: PIUS IX.] - ------------------------------------------------------------------------- - -Pius IX., we were told, at the time of his death in 1878, was a hale and -vigorous septuagenarian, with a fine presence, a rich and melodious -voice, a facile utterance, which rose at times to eloquence, and a -benign countenance. For three days the body of the Pope lay in state in -the Chapel of the Holy Sacrament in St. Peter’s, and an eye-witness of -the ceremonies wrote: “The face, perfectly visible, seemed unchanged -from what it had been in life, and the expression was one of absolute -peace; the calmness, indeed, was almost like that of sleep. A slight -flush, even, was on the cheek, and a smile seemed to hover about the -lips. The white hair peeped from under the mitre, and in the crossed -hands, covered with red gloves, lay a crucifix suspended from a chain -about his neck.” - -Signor A. Gallenza, in a volume entitled _The Pope and the King_, spoke -of the pontiff’s face in death as “handsome and dignified, with -something like sternness in the lofty brow, strangely contrasting with -that set smile so winning in the living man himself, but which was -merely the result of a muscular contraction, a dimple which even death -could not smooth.” - -Henry Crabb Robinson wrote from Italy in 1831: “I occasionally saw -Leopardi, the poet, a man of acknowledged genius and of unimpeachable -character. He was a man of good family and a scholar, but he had a -feeble frame, was sickly and deformed.” - -Leopardi’s life was very unhappy. His bodily infirmities humiliated him, -and domestic trials greatly affected his spirit. He seems to have -inspired very little tenderness even in the heart of his own mother, and -he died as miserably as he lived, longing for the eternal rest from pain -and neglect. His contemporaries have left almost nothing on record -concerning his personal appearance, but the few existing portraits of -him, and particularly this cast of his dead face, certainly show -sweetness mingled with strength. Mr. Howells, in his _Modern Italian -Poets_, quotes Niebuhr as saying of the young Leopardi: “Conceive of my -astonishment, when I saw standing before me, in the poor little chamber, -a mere youth, pale and shy, frail in person and obviously in ill-health, -who was by far the first, in fact the only, Greek philologist in Italy.” - ------------------------------------------------------------------------- - -[Illustration: GIACOMO LEOPARDI] - ------------------------------------------------------------------------- - -[Illustration: JOHN BOYLE O’REILLY] - ------------------------------------------------------------------------- - -The best and most sympathetic portrait of John Boyle O’Reilly is the -following, to be found in the life of that gentleman written by his -friend, Mr. James Jeffrey Roche: “Recalling him as he then was [1870], -the abiding memory of him is that of his marvellously sweet smile, and -his strikingly clear and frank gaze; the beauty of his face lay chiefly -in his eyes. The official advertisement of his escape says that those -eyes were brown, and prison descriptions are generally more accurate -than flattering. Almost anybody looking at him less closely, would have -said that his eyes were black. As a matter of fact, they were hazel, but -his dark skin and jet-black eyebrows and hair gave an impression of -blackness to the large, well-formed eyes beneath. They were very -expressive, whether flashing with some sudden fancy or glowing with a -deeper burning thought, or sparkling with pure boyish fun. There was -another expression, which they sometimes wore at this period of his -life, and which may be described for lack of a better word, as a hunted -look—not frightened or furtive, but an alert, watchful expression, which -made it easy to understand how he could have deliberately armed himself -with the firm intention of surrendering his liberty only with his -life.... No portrait ever made of him does justice to that which was the -great charm of his countenance—its wonderful light and life. His eyes -had the depth and fire and mobile color of glowing carbuncle. For the -rest he had the rich brown complexion, so familiar in after-years; a -small black mustache, only half concealing his finely-cut mouth, and -revealing a set of perfectly white, regular teeth. His form was slight, -but erect and soldier-like. He carried his head well raised, and a -little thrown back. He was a man whom no one would pass without a second -glance.” - -It is rather a curious fact that the men most interested, naturally, in -the study of the human face, and in its portrayal with chisel or pencil, -are the men most poorly represented in this collection; Sir Thomas -Lawrence being the only painter of portraits, and Hiram Powers, Haydon, -and Canova the only makers of masks, whose masks are here presented. -Three views of the life-mask of Sir Thomas Lawrence were engraved by R. -J. Lane, in 1830. They are contained on one plate, and represent the -full face, as well as profiles looking to the right and to the left. The -print is very rare, and bears the following inscription: “From a plaster -cast taken at the age of thirty-four, in the possession of an attached -friend.” - ------------------------------------------------------------------------- - -[Illustration: SIR THOMAS LAWRENCE] - ------------------------------------------------------------------------- - -Edward H. Baily, the sculptor, is known to have made a cast of -Lawrence’s features after death. “The head was finely shaped and bald, -and it bore a striking resemblance to that of Canning, although the face -lacked something of Canning’s elevated expression.” This death-mask is -here presented. - -Lawrence is said to have been a beautiful creature in his boyhood, with -bright eyes, and long chestnut hair. In later life we are told that -“although not tall—he was under five feet nine inches—his beautiful -face, active figure, agreeable manners, and fine voice were not thrown -away upon either lords or ladies, emperors or kings.” Opie said of him -once, “Lawrence made coxcombs of his sitters, and his sitters made a -coxcomb of him.” And George IV., the Sir Hubert Stanley of fine manners, -pronounced him “a high-bred gentleman.” This is praise indeed! Another, -and perhaps not so exalted an authority, said, “Lawrence’s appearance -was exceedingly graceful and gentlemanly. His countenance was open and -noble, his eyes were large and lustrous and very expressive.” Dr. R. R. -Madden, in his _Memoirs of the Countess of Blessington_, quotes a -brother artist, and a friend of Lawrence, as saying of him, “As a man -Sir Thomas Lawrence was amiable, kind, generous, and forgiving. His -manner was elegant but not high-bred. He had too much the air of always -submitting. He had smiled so often, and so long, that at last his smile -had the appearance of being set in enamel.” - -The mask of J. M. W. Turner formerly belonged to the late Dr. Pocock of -Brighton, England, and is now in the possession of Mr. William Ward, of -London. It was made, after death, by the late Thomas Woolner. There are -but few portraits of Turner in existence, the most life-like being an -engraving by M. M. Halloway, of a half-length profile sketch bearing -this inscription: “Drawn by me in the print-room of the British Museum. -J. T. Smith.” Unfortunately no date is attached. - -Much has been put on record about Turner’s personal peculiarities and -eccentricities; but little has been said by his contemporaries -concerning his personal appearance. The best picture, although a slight -one, is from the pen of Mr. W. P. Frith: “Turner was a very short man, -with a large head, and a face usually much muffled to protect it from -the draughts for which the rooms [of the Royal Academy] were -celebrated.” - ------------------------------------------------------------------------- - -[Illustration: J. M. W. TURNER] - ------------------------------------------------------------------------- - -Cyrus Redding, in his _Past Celebrities_, speaks of Turner’s -“unprepossessing exterior, his reserve, and his austerity of language.” -Wilkie Collins once described him as seated on the top of a flight of -steps, astride of a box, on Varnishing Day at the Royal Academy, “a -shabby Bacchus, nodding like a mandarin at his picture, which he with a -pendulum-motion now touched with his brush, now receded from.” And Peter -Cunningham, in an almost brutal way, set down Turner as “short, stout, -and bandy-legged, with a red, pimply face, imperious and covetous eyes, -and a tongue which expressed his sentiments with murmuring reluctance.” -Sir William Allen, according to Cunningham, was accustomed to describe -the great painter as a “Dutch Skipper.” - -In view of all this, it is not remarkable that Turner had strong -objections to sitting for his portrait. He felt that any familiarity -with his face and figure would affect the poetry of his works in the -popular mind. “No one,” he said, “would believe, after seeing my -likeness, that I painted these pictures.” A contemporary portrait of -Turner, fishing in all his uncouth enthusiasm, with shabby garments, and -a cotton umbrella over his head, is unfortunately too long to be quoted -here. - -Hiram Powers died in Florence in 1873, and lies in the Protestant -Cemetery of that city. His mask, after death, was made by Thomas Ball -and Joel T. Hart. Dr. Samuel Osgood said of Powers in 1870: “In his -looks, his ideas, as well as in all his works, he is a man of the golden -mean. There is nothing too much in his make or his manner. He is a good -specimen of a well-formed man, and his own statue would make a good sign -for the front of his studio.” In October, 1847, Mrs. Browning wrote: -“Mr. Powers, the sculptor, is our chief friend and favorite. A most -charming, simple, straightforward, genial American—as simple as the man -of genius he has proved himself to be.... The sculptor has eyes like a -wild Indian’s, so black and full of light—you would scarcely marvel if -they clove the marble without the help of his hand.” “Mr. Powers called -in the evening,” wrote Hawthorne in his _Italian Note-book_ in 1858—“a -plain personage, characterized by strong simplicity and warm kindliness, -with an impending brow, and large eyes which kindle as he speaks. He is -gray and slightly bald, but does not seem elderly nor past his prime. I -accept him at once as an honest and trustworthy man, and shall not vary -from this judgment.” - ------------------------------------------------------------------------- - -[Illustration: HIRAM POWERS] - ------------------------------------------------------------------------- - -Mr. Preston Powers, who possesses the mask of his father, has also in -his possession a life-mask and a death-mask of Agassiz, and a death-mask -of Sumner; the last two having been made by himself. Through his -courtesy I am enabled to reproduce them all here. - -The life-mask of Agassiz was made when the subject was about forty years -of age, and by an artist now unknown. It was given to Mr. Powers by Mr. -Alexander Agassiz at the time of the elder Agassiz’s death. - -E. P. Whipple, in his _Recollections of Eminent Men_, said of Agassiz: -“You could not look at him without feeling that you were in the presence -of a magnificent specimen of physical, mental, and moral manhood; that -in him was realized Sainte-Beuve’s ideal of a scientist—the soul of a -sage in the body of an athlete. At that time [1845] he was one of the -comeliest of men. His full and ruddy face, glowing with health and -animation, was crowned by a brow which seemed to be the fit home for -such a comprehensive intelligence.” And Longfellow, in his _Journal_ -(January 9, 1847), wrote: “In the evening a reunion at Felton’s to meet -Mr. Agassiz, the Swiss geologist and naturalist. A pleasant, voluble -man, with a bright beaming face.” - -Mr. Curtis, in an oration upon Charles Sumner, delivered shortly after -the statesman’s death, said that “his look, his walk, his dress, his -manner, were not those of the busy advocate, even in his younger years, -but of the cultivated and brilliant man of society, the Admirable -Crichton of the saloons.” - -Mrs. Jefferson Davis, in her _Life_ of her husband, spoke of Sumner as -“a handsome, unpleasing man, and an athlete whose physique proclaimed -his physical strength.” And Mr. Seward wrote to his wife in 1856: -“Sumner is much changed for the worse. His elasticity and vigor are -gone. He walks, and in every way moves, like a man who has not -altogether recovered from a paralysis, or like a man whose sight is -dimmed, and his limbs stiffened with age.” - -At the autopsy it was discovered that the brain of Sumner showed no -trace of the assault from the effects of which he suffered so terribly. - ------------------------------------------------------------------------- - -[Illustration: LOUIS AGASSIZ—From Life] - ------------------------------------------------------------------------- - -[Illustration: LOUIS AGASSIZ—From Death] - ------------------------------------------------------------------------- - -[Illustration: CHARLES SUMNER] - ------------------------------------------------------------------------- - -Canova must have been a beautiful character. It is not often that so -much good is spoken, even of the dead, as has been spoken of him since -he died; and if the chroniclers are right, he deserved it all. In -personal appearance, however, we read that he was not particularly -attractive. His hair was black and luxuriant, and his forehead of noble -dimensions, but the outline of his features was neither grand nor -extraordinary. The phrenologists gave him a massive brain upward and -forward of the ears, wonderful constructive talent, with large ideality -and strong intellect. He was very abstemious in his habits, very -thoughtful, and a hard worker. Count Cicognara, in a biographical sketch -of Canova, thus described his face during his very last hours: “His -visage became, and remained for some time, highly radiant and -expressive, as if his mind was absorbed in some sublime conception, -creating powerful and unusual emotion in all around him. Thus he must -have looked when imagining that venerable figure of the pontiff who is -represented in the attitude of prayer in the Vatican. His death was -wholly unattended by the agonies which make a death-bed so distressing, -nor did even a sigh or convulsion announce his dying moment.” - -This is the visage which his friends cast in plaster, and it was, no -doubt, the basis of the medallion bust of Canova, in profile, which -forms part of the pyramidal tomb erected by certain of his pupils in -1827, in the church of Sante Maria Gloriosa dei Frari, the pantheon of -Venice. The monument, according to Mr. Ruskin, is “consummate in -science, intolerable in affectation, ridiculous in conception; null and -void to the uttermost in invention and feeling;” and the medallion -represents the great sculptor in all his glorious prime of strength and -beauty. - -The death-mask of Canova, as here reproduced, in its peaceful and quiet -repose, is in strong contrast with that of Richard Brinsley Sheridan, -shown upon a subsequent page. - ------------------------------------------------------------------------- - -[Illustration: ANTONIO CANOVA] - ------------------------------------------------------------------------- - -[Illustration: RICHARD BRINSLEY SHERIDAN] - ------------------------------------------------------------------------- - -In the whole history of English letters, there can be found no sadder -chapter than that which contains the story of Sheridan’s death. The body -out of which the breath was fast going, and from which intelligent -action had entirely gone, was seized by sheriff’s officers for debt, and -only by the threats of attending physicians did it escape being carried -to a low sponging-house, wrapped in nothing but the blankets that -covered the bed on which it lay. The “life and succor” his friends had -begged were denied him, and “Westminster Abbey and a funeral” were all -he received. As a French journal said at the time, it only proved that -“France is the place for a man of letters to live in, and England the -place for him to die in.” Sheridan’s appearance during his last hours -was thus depicted by one who saw for himself the havoc made: “His -countenance was distorted under the writhings of unutterable anguish. -Pain and the effects of pain were visible on that sunken cheek; and on -that brow which had never knitted under oppression, or frowned upon the -importunities of the unfortunate, pain in its most acute form had -contracted there its harsh and forbidding lines.... Still, amid those -rigid lines which continuous suffering had indented there, you might -perceive the softer and more harmonious tracings of uncomplaining -patience, fortitude in its endurance, and resignation in its calmness.” -This is the face exhibited here—one of the most unpleasant to look upon -which the collection contains, notwithstanding Sheridan’s own boast, not -very long before his death, that “his eyes would look up as brightly at -his coffin-lid as ever.” His spirits did not fail him so long as -consciousness remained, and when asked by the attending surgeons if he -had ever before undergone an operation, he replied, “Only when sitting -for my portrait, or having my hair cut.” It is to be regretted that this -last portrait for which he sat, should be so worn and weary in its -expression. Moore, in his _Life of Sheridan_, did not mention the taking -of the mask, although he spoke of the plaster cast of Sheridan’s hand, -under which some keen observer had written: - - “Good at a fight, better at a play, - God-like in giving—but the devil to pay.” - -Concerning Moore’s own appearance, Leigh Hunt wrote: “Moore’s forehead -was bony and full of character, with ‘bumps’ of wit large and radiant -enough to transport a phrenologist. His eyes were as dark and fine as -you would wish to see under a set of vine leaves; his mouth generous, -and good-humored with dimples.” Scott said in his _Journal_, in 1825: -“Moore’s countenance is plain, but the expression is very animated, -especially in speaking or singing, so that it is far more interesting -than the finest features could have rendered it.” In 1833 Gerald Griffin -made a visit to Moore at Sloperton, and thus described Moore himself: “A -little man, but full of spirits, with eyes, hands, feet, and frame -forever in motion.... I am no great observer of proportions, but he -seemed to me to be a neat-made little fellow, tidily buttoned up, young -as fifteen at heart, though with hair that reminded me of ‘Alps in the -sunset’; not handsome, perhaps, but something in the whole cut of him -that pleased me.” - ------------------------------------------------------------------------- - -[Illustration: THOMAS MOORE] - ------------------------------------------------------------------------- - -A year later, N. P. Willis, who _was_ a great observer of proportions, -met Moore at Lady Blessington’s, and thus recorded his observations: -“His forehead is wrinkled, with the exception of a most prominent -development of the organ of gayety, which, singularly enough, shines -with the lustre and smooth polish of a pearl, and is surrounded by a -semicircle of lines drawn close about it like intrenchments against -Time. His eyes still sparkle like a champagne bubble, though the invader -has drawn his pencillings about the corners.... His mouth is the most -characteristic feature of all. The lips are delicately cut, slight, and -changeable as an aspen, but there is a set look about the lower lip—a -determination of the muscle to a particular expression, and you fancy -that you can almost see wit astride upon it.... The slightly tossed nose -confirms the fun of the expression, and altogether it is a face that -sparkles, beams, radiates.” - -This was Moore as others saw him when he was in his prime. His later -years were clouded by a loss of memory, and a helplessness almost -childish. The light of his intellect grew dim by degrees, although Lord -John Russell said that there was never a total extinction of the bright -flame. He died calmly and without pain; and the cast of his face -certainly reflects much that Willis had drawn in his _Pencillings by the -Way_. - -Sheridan said once of a fellow-Irishman that Burke’s “abilities, happily -for the glory of our age, are not intrusted to the perishable eloquence -of the day, but will live to be the admiration of that hour when all of -us shall be mute, and most of us forgotten.” Burke, in all his -relations, was a better man than Sheridan, and he met, as he deserved, a -better fate. He fell asleep for the last time with Addison’s chapter on -“The Immortality of the Soul” under his pillow, and with the respect and -gratitude of all England at his feet. The mask of Burke was offered for -sale—and was sold—in London a few months ago, with a certificate from -Mr. Edward B. Wood, stating that it was made by the especial desire of -Queen Charlotte on the day of Burke’s death. The name of the artist is -unknown, but he is said to have received two hundred guineas for the -work. After the death of her Majesty the mask was given by George IV. to -C. Nugent, his gentleman-in-waiting, from whom it came into the -possession of his nephew, Mr. Wood. This original mask, from the Queen’s -cabinet, is now the property of The Players. It is very like the -familiar portrait of Burke by Opie. - ------------------------------------------------------------------------- - -[Illustration: EDMUND BURKE] - ------------------------------------------------------------------------- - -George Combe had a mask of Curran in this country, of which mine, no -doubt, is a replica, as it bears a strong resemblance to the established -portraits of Curran. Its existence does not appear to have been known to -the sculptor of the medallion head of Curran on the monument in St. -Patrick’s, Dublin, for that was avowedly taken from the portrait by Sir -Thomas Lawrence. A short time before his death Curran wrote to a friend -that his “entire life had been passed in a wretched futurity,” but that -happily he had found the remedy, and that was to “give over the folly of -breathing at all.” He ceased to breathe at all in Brompton, London, in -the autumn of 1817; and his bones, now buried in Dublin, were laid for -some years in a vault of Paddington church. - -We learn from various sources that Curran was under the middle height, -“very ugly,” with intensely bright, black eyes, perfectly straight -jet-black hair, a “thick” complexion, and “a protruding underlip on a -retreating face.” Croker, speaking of his oratory, said: “You began by -being prejudiced against him by his bad character and ill-looking -appearance, like the devil with his tail cut off, and you were at last -carried away by his splendid language and by the power of his metaphor.” - -The mask of Lord Palmerston was taken immediately after death at -Brockton Hall, by Mr. Jackson. Only one cast was ever made—that which is -in my collection—and upon this was based the head upon the statue of -Palmerston by Mr. Jackson, now in Westminster Abbey. The Marquis of -Lorne, in his _Life of Palmerston_, says: “Some of us may have seen him -rise quickly and lightly, when nearly fourscore, from his seat in the -House of Commons, and speak with clearness and directness but no attempt -at eloquence, and often with some hesitation, at the table; his black -frock-coat buttoned across the well-knit and erect figure of middle -stature, his sentences spoken towards the bar of the House; his gray -short hair brushed forward and the gray whiskers framing the head erect -on the shoulders. Some may remember, under the shaven chin, the loose -bow-knot, neatly tied at the throat, the bit of open shirt-front, with -standing collar.” His appearance in 1837 is thus described: “Lord -Palmerston is tall and handsome. His face is round and of the darkest -hue. His hair is black, and always exhibits proofs of the skill and -attention of the _friseur_. His clothes are in the extreme of fashion. -He is very fond of his personal appearance.” And Sir William Fraser -sketched him as he appeared to a later generation: “Lord Palmerston on -horseback looked a big man, and standing at the table of the House he -did not appear ill-proportioned. Each foot, to describe it -mathematically, was ‘a four-sided, irregular figure.’ His portraits in -_Punch_ are very like him. Those with a flower or straw in the mouth are -the best. He had a very horsy look.” - ------------------------------------------------------------------------- - -[Illustration: JOHN PHILPOT CURRAN] - ------------------------------------------------------------------------- - -[Illustration: LORD PALMERSTON] - ------------------------------------------------------------------------- - -The death-mask of Benjamin Disraeli, Earl of Beaconsfield, as here -shown, was found by me a year or two ago in the out-of-the-way little -shop of a mould-maker in Chelsea. It was taken by Sir Edgar Boehm, and -the nose in the cast was broken, evidently intentionally and wantonly, -by some malicious person who wished, perhaps, in this iconoclastic way -to express with emphasis his political opinions. Despite its mutilated -condition it is of great interest to all lovers and admirers of the -original. - -The best pen-portrait of Disraeli as well as the most familiar, is that -of N. P. Willis, who saw him, in his youth, at Lady Blessington’s. It -says: “He was sitting in a window looking on Hyde Park, the last rays of -sunlight reflected from the gorgeous gold flowers of a splendidly -embroidered waistcoat. Patent-leather pumps, a white stick with a black -cord and tassel, and a quantity of chain about his neck and pockets, -served to make him a conspicuous object. He has one of the most -remarkable faces I ever saw. He is lividly pale, and but for the energy -of his action and the strength of his lungs, would seem to be a victim -of consumption. His eye is as black as Erebus and has the most mocking, -lying-in-wait sort of expression conceivable. His mouth is alive with a -kind of working and impatient nervousness; and when he has burst forth, -as he does constantly, with a particularly successful cataract of -expression, it assumes a curl of triumphant scorn that would be worthy -of Mephistopheles. His hair is as extraordinary as his taste in -waistcoats. A thick, heavy mass of jet-black ringlets falls on his left -cheek almost to his collarless stock, which on the left temple is parted -and put away with the smooth carefulness of a girl. The conversation -turned upon Beckford. I might as well attempt to gather up the foam of -the sea as to convey an idea of the extraordinary language in which he -clothed his description. He talked like a race-horse approaching the -winning-post, every muscle in action.” This is the Disraeli whom D’Orsay -drew. - ------------------------------------------------------------------------- - -[Illustration: BENJAMIN DISRAELI] - ------------------------------------------------------------------------- - -Mr. T. Wemyss Reid thus sketches Disraeli in later life: “Over the high -arched forehead—surely the forehead of a poet—there hangs from the crown -of the head a single curl of dark hair, a curl which you cannot look at -without feeling a touch of pathos in your inmost heart, for it is the -only thing about the worn and silent man reminding you of the brilliant -youth of _Vivian Grey_. The face below this solitary lock is deeply -marked with the furrows left by care’s ploughshare; the fine dark eyes -look downward, the mouth is closed with a firmness that says more for -his tenacity of will than pages of eulogy would do; but what strikes you -more than anything else is the utter lack of expression upon the -countenance. No one looking at the face, though but for a moment, could -fall into the error of supposing that expression and intelligence are -not there; they are there, but in concealment.” - -Mr. W. P. Frith, in his _Autobiography_, more than once alludes to the -devotion of Mrs. Disraeli to her husband, and he quotes John Phillips as -describing the painting of Disraeli’s portrait. After the subject and -his wife had seen the sketch, during the first sitting, the colors being -necessarily crude, the lady returned hastily to the studio, and said to -the painter: “Remember that his pallor is his beauty!” - -Dr. Wilde, afterwards Sir William Wilde, published in Dublin, in 1849, a -volume entitled _The Closing Years of Dean Swift’s Life_, a very -interesting book now long out of print. It is an elaborate defence of -Swift’s sanity, and it contains a full account of the plaster mask taken -from the Dean’s face “after the _post-mortem_ examination.” From this, -he said, “a bust was made and placed in the museum of the University, -which, notwithstanding its possessing much of the cadaverous appearance, -is, we are strongly inclined to believe, the best likeness of -Swift—during, at least, the last few years of his life—now in -existence.” Speaking of this mask, Sir Walter Scott wrote: “The -expression of countenance is most unequivocally maniacal, and one side -of the mouth (the left) horribly contorted downwards, as if convulsed by -pain.” Dr. Wilde, on the other hand, said: “The expression is remarkably -placid; but there is an evident drag in the left side of the mouth, -exhibiting a paralysis of the facial muscles of the right side, which, -we have reason to believe, existed for some years before his death.” - ------------------------------------------------------------------------- - -[Illustration: JONATHAN SWIFT] - ------------------------------------------------------------------------- - -Dr. Wilde compared this cast of Swift’s face, taken immediately after -death, with the cast and drawings of his skull made in 1835, ninety -years later, when the bodies of Swift and Stella were exhumed, and their -craniums examined by the phrenologists belonging to the British -Association; and by careful analysis of both, he was able to satisfy -himself that Swift was not “a driveller and a show” when he died, nor a -madman while he lived. He gave, upon the sixty-second page of his book, -a drawing of this mask in profile, and the face is certainly identical -with the face in my collection. It resembles very strongly the accepted -portraits of Swift, particularly the two in which he was drawn without -his wig. The more familiar of these is a profile in crayon, by Barber, -taken when the Dean was about sixty years of age—and eighteen years -before his death—which has been frequently engraved for the several -editions of Lord Orrery’s _Remarks on the Life and Writings of Jonathan -Swift_, first published in 1751. The original cast was made in two -parts, according to Dr. Wilde, and the difference in surface between the -rough hinder part—not existing in my copy—and the smooth polished -anterior portion, as here seen, shows at once that the back of the head -was added at a later date. Two lines of writing, greatly defaced, found -upon the cast attest this to be “Dean Swift taken off his ... the night -of his burial, and the ... one side larger than the other in nature.” In -a foot-note to the second edition of his work, Dr. Wilde said: “The -original mask remained in the museum T.C.D. [Trinity College, Dublin] -till within a few years ago [1849], when it was accidentally destroyed.” -The history of this replica—for replica it certainly is—before it came -into my hands I have never been able to trace. It found its way into the -shop of a dealer in curiosities, who knew nothing of its pedigree, not -even whose face it was; and from him I bought it for a few shillings. It -is one of the most interesting of the collection, and perhaps the most -valuable, because the most rare. It is hardly the Swift of our -imagination, the man whom Stella worshipped and Vanessa adored; and, Dr. -Wilde to the contrary, notwithstanding, one cannot help feeling while -looking at it that Swift’s own sad prophecy to Dr. Young was -fulfilled—“I shall be like that lofty elm whose head has been blasted; I -shall die first at the top.” - -At least one of the biographers of the Irish dean died as Byron often -feared to die, “like Swift, at the top first.” Sir Walter Scott’s decay -was a mental decay in the beginning of his last illness; but happily for -him, and for his family, the axe was laid at the root of the grand old -monarch of the forest of Scottish letters before the upper branches were -permitted to go to utter ruin. - -There exist at Abbotsford two masks of its first laird—a life-mask and a -death-mask. Of the former very little is known except that it is said to -have been made in Paris. The latter was exhibited at the Scott Centenary -Celebration in Edinburgh, in 1871, when it attracted a great deal of -attention. They both show, as no portrait of the living man shows, -except the familiar sketch by Maclise in the Fraser Gallery, the -peculiar formation of his head, and the unusual length above the eyes. -Lockhart, in his account of Scott’s last hours, said: “It was a -beautiful day; so warm that every window was wide open, and so perfectly -still that the sound of all others most delicious to his ears—the gentle -ripple of the Tweed over its pebbles—was distinctly audible as we knelt -around the bed, and his eldest son kissed and closed his eyes. No -sculptor ever marbled a more majestic image of repose.” - -He does not mention the taking of the death-mask, however, and nowhere -alludes to it. It was made by George Bullock—it is said, at the request -of Dr. Spurzheim—and Bullock and Chantrey both used it in modelling -posthumous busts of the bard. It was loaned to Sir (then Mr.) Edwin -Landseer while he was painting his full-length portrait of Sir Walter, -with the background of the scenery of the Rhymer’s Glen. - -Bullock supposed that the original mould was destroyed not long after -Scott’s death, but Mr. Gourlay Steel writes that his brother, Sir John -Steel, while engaged upon the monument to Lockhart at Dryburgh Abbey, -some years later, came upon it accidentally at Abbotsford, and used it -in remodelling his bust of Sir Walter for Mr. Hope-Scott. - -Chantrey, in comparing the measurements of Scott’s head from this mask -with the measurements he had made of the head of Shakspere on the -Stratford monument—which latter he had always considered unnatural, if -not impossible—found, to his great surprise, that they were almost -identical in height from the eyes up; and in each case he noticed the -very unusual length of the upper-lip. It was this dome-like feature of -Scott’s head which inspired one of his jocular friends in Edinburgh to -hail him once, when he dragged himself up the stairs of the Session -House with his hat in his hand, as “Peveril of the Peak.” - ------------------------------------------------------------------------- - -[Illustration: SIR WALTER SCOTT] - ------------------------------------------------------------------------- - -When Carlyle last saw Scott—they never met to exchange a word—it was in -one of the streets of Edinburgh, late in Scott’s life; and, “Alas!” -wrote the younger man, “his fine Scottish face, with its shaggy honesty -and goodness, was all worn with care, the joy all fled from it, and -ploughed deep with labor and sorrow.” - -Eighteen months after the death of Scott, the Burns mausoleum at -Dumfries was opened to receive the remains of Burns’s widow, when, -according to the appendix to the first edition of Allan Cunningham’s -_Life of Burns_, then going through the press, a cast was taken from the -cranium of the poet. Mr. Archibald Blacklock, surgeon of Dumfries, who -made the examination, declared that “the cranial bones were perfect in -every respect, and were firmly held together by their sutures,” etc., -etc. Unfortunately there is no cast of the head of the poet, living or -dead, except this one here shown of his fleshless skull. George Combe, -who received a replica of it from the executors of Mrs. Burns, presented -a number of wood-cuts of it, in various positions, in his _Phrenology_, -and he was very fond of using it to point his morals. - -It is unusually large, even for the skull of a Scotchman; and viewed -laterally, its length, due to the magnitude of the anterior lobe, is -enormous. - -Combe frequently reproduced the skull of Robert the Bruce, shown here as -well, although he failed to explain the mystery of its existence in -plaster. The skeletons of Bruce and his queen were discovered early in -the present century by a party of workmen who were making certain -repairs in the Abbey Church of Dunfermline. The bones of the hero of -Bannockburn were identified from the description of the interment in -contemporary records, and from the fact that the ribs on the left side -had been roughly sawn away when the heart was delivered to Sir James -Douglas, and sent off on its pious and romantic, but unsuccessful, -pilgrimage to the Holy Land. The skull of Bruce, in an excellent state -of preservation, was examined carefully by the Phrenological Society of -Edinburgh, then in the highest tide of its enthusiasm and prosperity; -and with the consent of the Crown, this cast of it was made. A gentleman -who wrote anonymously to _Notes and Queries_, August 27, 1859, some -forty years later, said that he remembered distinctly seeing and -handling this skull, and the great sensation its discovery created. It -was reinterred in its original resting-place a day or two later. - ------------------------------------------------------------------------- - -[Illustration: ROBERT BURNS] - ------------------------------------------------------------------------- - -[Illustration: KING ROBERT THE BRUCE] - ------------------------------------------------------------------------- - -The London _Times_ contained, not very long ago, the following curious -advertisement: “Napoleon I. For sale, the original mask moulded at Saint -Helena by Dr. Antomarchi. Price required, £6000. Address,” etc., etc. - -Dr. F. Antomarchi, a native of Corsica, and a professor of anatomy at -Florence, at the request of Cardinal Fesch and of “Madame Mère,” and -with the consent of the British government, went to Saint Helena in 1819 -as physician to the exiled Emperor. He closed his master’s eyes in -death; and immediately before the official _post-mortem_ examination, -held the next day, he made the mask in question. He said in his report -that the face was relaxed, but that the mask was correct so far as the -shape of the forehead and nose was concerned. And unquestionably it is -the most truthful portrait of Bonaparte that exists. - -When Napoleon thought himself closely observed, he had, according to Sir -Walter Scott, “the power of discharging from his countenance all -expression save that of an indefinite smile, and presenting to the -curious investigator the fixed and rigid eyes of a marble bust.” As he -is here observed, no matter how curiously or how closely, he is seen as -he was. It is the face of Napoleon off his guard. - -Bonaparte’s distinguishing traits were selfishness, combativeness, -destructiveness, acquisitiveness, secretiveness, self-esteem, and love -of approbation. He had some vague notion of benevolence and of -veneration, but he was blind to the dictates of truth and of justice, -and he was so utterly deficient in conscientiousness that he does not -seem to have been conscious of its existence. - -His entire character was summed up once in four broken-English words, by -an ignorant little local guide in Berlin. Fritz, showing a party of -Americans through the royal palace at Charlottenburg, worked himself up -to a pitch of patriotic frenzy in describing the conduct of the parvenu -French Emperor during his occupancy of the private apartments of the -legitimate German Queen, and he concluded his harangue by saying, -quietly and decidedly, “But then, you know, Napoleon was no gentleman!” - ------------------------------------------------------------------------- - -[Illustration: NAPOLEON I.] - ------------------------------------------------------------------------- - -That seems to tell the whole story. He was, in his way, the greatest man -who ever lived. He stepped from a humble cradle in an Italian provincial -town on to the throne of France; he made his commonplace brothers and -sisters and his ignorant henchmen kings and queens of all the European -countries within his reach; he locked a pope in a closet, as if he had -been a naughty boy; he re-drew the map of half the world; he re-wrote -history; his name will live as long as books are read; no man out of so -little ever accomplished so much—but yet he was _no_ gentleman! - -The Bonaparte mask, in bronze, as here shown is very rare. Only four are -known to exist. The copy in the Paris Mint—_Hotel des Monnaies_—is -without the gilded wreath which this copy possesses. It is said to have -“been taken from the Emperor’s face at St. Helena, twenty hours after -his death.” - -The mask of Napoleon III. was taken, of course, at Chiselhurst. Louis -Napoleon Bonaparte was distinguished, particularly, as being the only -Bonaparte, for four generations at least, who bore no resemblance -whatever to the Bonaparte family, not one of the strongly marked facial -traits so universal in the tribe appearing in him. - -No matter what may have been his shortcomings in other respects, he was -devoted to his mother and to her memory. She used to call him “the -mildly obstinate;” and the maternal judgment, perhaps, was mildly -correct. Kinglake expressed it more epigrammatically when he said that -“his characteristic was a faltering boldness.” The historian of the -Crimea, in his account of the attempt at Strasburg in 1836, pictured -Prince Louis as “a young man with the bearing and the countenance of a -weaver—a weaver oppressed by long hours of monotonous in-door work, -which makes the body stoop and keeps the eyes downcast.” Those half-shut -eyes impressed every one who saw the Third Napoleon in life. He was -called by Madden, in his _Memoirs of the Countess of Blessington_, “the -man with the heavy eyelids, with the leaden hand of care and calculation -pressing them down—the man-mystery, the depths of whose duplicity no -Œdipus has yet sounded—the man with the pale, corpse-like, imperturbable -features.” Neither Mr. Kinglake nor the chosen biographer of the -Blessingtons, however, was an impartial witness. Henry Wikoff, on the -other hand, declared that his face recorded resolution, and that his -eyes, which he kept half closed, revealed subtlety as well as daring. -“His manner,” according to the Chevalier, “was graceful, composed, and -very _distingué_. He had the air of a man superior by nature as by -birth.” And Mrs. Browning believed in him and trusted him, and called -him “the good and the just.” He was perhaps the mildest-mannered man who -ever scuttled ship of State, or cut a political throat. - ------------------------------------------------------------------------- - -[Illustration: NAPOLEON III.] - ------------------------------------------------------------------------- - -The cast of the dead face of Oliver Cromwell, which was for some years -in the cabinet of the Mint at Washington, bears the following -inscription—copied _verbatim_: - - _This Mask is from the - original one descended - from Richard, Protector - in poss: Mrs. Russell - Chesthunt Park._ - - ------- - - BORN DIED - - 1626 RICHARD 1712 - left them to his dau. - - 1650 ELIZABETH 1731 - to her cousins - - 1695 RICHARD—THOMAS - - 1759 left the mask - to his dau: - ANNE ELIZ EX^{ctrs.} - they left it to - OLIVER CROMWELL - he left it to - his daughter - MRS. RUSSELL. - -In 1859 it was presented by Henry M. Field, Queen’s Assay Master at the -London Mint, and a direct descendant of Cromwell, to the late William E. -Du Bois, who was for nearly half a century an officer of the mint at -Washington. Shortly before his death the latter gentleman removed it to -his own house; and it is now in the possession of his son, Mr. Patterson -Du Bois of Philadelphia, through whose kindness the pedigree given is -here printed. - -Cromwell, according to the _Commonwealth Mercury_ of November 23, 1658, -was buried that day at the east end of the chapel of Henry VII., in -Westminster Abbey. Dean Stanley accepted this as an established fact, -notwithstanding the several reports, long current, that the body was -thrown into the Thames, or laid in the field of Naseby, or carried to -the vault of the Claypoles in the parish church of Northampton, or -stolen during a heavy tempest in the night, or placed in the coffin of -Charles I. at Windsor, Mr. Samuel Pepys being responsible for the last -wild statement. After the Restoration this same Mr. Pepys saw the -disinterred head of Cromwell in the _interior_ of Westminster Hall, -although all the other authorities agree in stating that, with the heads -of Ireton and Bradshaw, it adorned the outer walls of that building. - ------------------------------------------------------------------------- - -[Illustration: OLIVER CROMWELL] - ------------------------------------------------------------------------- - -It may be stated, by the way, that a trustworthy friend of Mr. Pepys, -and a fellow-diarist, one John Evelyn, witnessed “the superb funerall of -the Lord Protector.” He was carried from Somerset House in a velvet -bed-of-state to Westminster Abbey, according to this latter authority; -and “it was the joyfullest funerall I ever saw, for there were none that -cried but dogs, which the soldiers hooted away with a barbarous noise, -drinking and taking tobacco in the streets as they went.” It does not -seem to have occurred to Mr. Evelyn, or to other eye-witnesses of the -funeral, that this was a mock ceremonial, and that the actual body of -the Protector was not in the hearse. - -Both Horace Smith and Cyrus Redding, early in the present century, saw -what they fully believed to be the head of Cromwell. It was then in the -possession of “a medical gentleman” in London. “The nostrils,” said -Redding, “were filled with a substance like cotton. The brain had been -extracted by dividing the scalp. The membranes within were perfect, but -dried up, and looked like parchment. The decapitation had evidently been -performed after death, as the state of the flesh over the vertebræ of -the neck plainly showed.” - -A correspondent of the London _Times_, signing himself “Senex,” wrote to -that journal, under date December 31, 1874, a full history of this head, -in which he explained that at the end of five-and-twenty years it was -blown down one stormy night, and picked up by a sentry, whose family -sold it to one of the Cambridgeshire Russells, who were the nearest -living descendants of the Cromwells. By them it was sold, and it was -exhibited at several places in London. “Senex” gave the following -account of the recognition of the head by Flaxman, the sculptor: “Well,” -said Flaxman, “I know a great deal about the configuration of the head -of Oliver Cromwell. He had a low, broad forehead, large orbits to his -eyes, a high septum to the nose, and high cheekbones; but there is one -feature which will be with me a crucial test, and that is that instead -of having the lower jawbone somewhat curved, it was particularly short -and straight, but set out at an angle, which gave him a jowlish -appearance. The head,” continued “Senex,” “exactly answered to the -description, and Flaxman went away expressing himself as convinced and -delighted.” Another, and an earlier account, dated 1813, says that “the -countenance has been compared by Mr. Flaxman, the statuary, with a -plaster cast of Oliver’s face taken after his death [of which there are -several in London], and he [Flaxman] declares the features are perfectly -similar.” - -Whether or not the body of the real Cromwell was dug up at the -Restoration, and whether his own head, or that of some other -unfortunate, was exposed on a spike to the fury of the elements for a -quarter of a century on Westminster Hall, are questions which, perhaps, -will never be decided. The head which Flaxman saw, as it is to be found -engraved in contemporary prints, is not the head the cast of which is -now in my possession, although it bears a certain resemblance thereto. -Mine is probably “the cast from the face taken [immediately] after his -death,” of which, as we have seen, several copies were known to exist in -Flaxman’s time. It is, at all events, very like to the Cromwell who has -been handed down to posterity by the limners and the statuaries of his -own court. Thomas Carlyle was familiar with it, and believed in it, and -he avowedly based upon it his famous picture of the Protector: “Big -massive head, of somewhat leonine aspect; wart above the right eyebrow; -nose of considerable blunt aquiline proportions; strict yet copious -lips, full of all tremulous sensibility, and also, if need were, of all -fierceness and rigor; deep, loving eyes, call them grave, call them -stern, looking from under those shaggy brows as if in lifelong sorrow, -and yet not thinking it sorrow, thinking it only labor and endeavor; on -the whole, a right noble lion-face and hero-face; and to me it was royal -enough.” - -The copy of the Cromwell mask in the Library of Harvard College is thus -inscribed: “A cast from the original mask taken after death, once owned -by Thomas Woolner, Sculptor. It was given by him to Thomas Carlyle, who -gave it, in 1873, to Charles Eliot Norton, from whom Harvard College -received it in 1881.” - -A copy of this mask in plaster is in the office of the National Portrait -Gallery, in Great George Street, Westminster; and a wax mask, resembling -it strongly, although not identical with it, is to be seen in the -British Museum. This latter, which is broken in several places, lacks -the familiar wart above the right eyebrow. There is no record of either -of these casts in either institution, and the authorities and experts of -both have no knowledge as to how and when they found their way to their -present resting-places. Rev. Mark Noble, in his _House of Cromwell_, -however, said that the representative in London of Ferdinand II., of -Tuscany, bribed an attendant of Cromwell to permit him to take in secret -“a mask of the Protector in plaster of Paris, which was done only a few -moments after his Highness’s dissolution.” “A cast from this mould,” he -added, “is now in the Florentine Gallery. It is either of bronze, with a -brassy hue, or stained to give it that appearance.” Elsewhere Mr. Noble -said, writing in 1737, that “the baronial family of Russell are in -possession of a wax mask of Oliver, which is supposed to have been taken -off while he was living.” - -After a careful study of all the Florentine galleries in the winter of -1892-93, I failed to find this copy of the Cromwell mask or any record -of its ever having existed there, although the Pitti Palace contains an -original portrait of Cromwell from life by Sir Peter Lely, which was -presented by the Protector to this same Grand Duke Ferdinand II. - -The mask of Henry IV., that darling king whose praises still the -Frenchmen sing, has also a curious history. During the French -Revolution, as is well known, the tombs of the Bourbons and the Valois -at St. Denis were desecrated by the citizens of the republic. And when -they began to “empty the rat-hole under the high altar,” to use the -words of one of their own leaders, the first coffin they came upon was -that of Henry of Navarre. The body was discovered to have been carefully -embalmed, and it was enveloped in a series of narrow bands of linen, -steeped in some chemical preparation. The face was so well preserved -that even the fan-shaped beard seemed as if it had been but recently -dressed. The upper part of the brain had been removed, and was replaced -by a sponge filled with aromatic essences. Enormous crowds came from -Paris to look upon what was left of the monarch who once wished that all -his subjects might have capon for their Sunday dinners; and undoubtedly -some one of them made this cast of his face. It is still a common object -in the plaster shops of Paris; and, painted a dark green to match the -lintel of his door, it serves to-day as a sign and a symbol for a dealer -in plaster images who does business in one of the side streets near -upper Broadway, New York. - ------------------------------------------------------------------------- - -[Illustration: HENRY IV. OF FRANCE] - ------------------------------------------------------------------------- - -M. Germain Bapst, writing in the _Gazette des Beaux Arts_, October, -1891, described a bust of Henry in wax which is preserved at Chantilly; -and he proved it to be the work of G. Dupré, who, according to Malherbe, -a contemporary historian, went to the Louvre the day after the king’s -death to make the wax effigy for his funeral, and took with him the -modeller, who made a cast from the king’s features. Concerning this cast -itself the writer was silent; but he stated, although without giving his -authority, that the plaster cast here reproduced dates back only to the -time of the exhumation. - -A scarce contemporary French engraving, entitled “Henri IV. Exhumé,” -represents the king as standing upright in an open coffin, against one -of the great stone pillars in the vaults of St. Denis. The body is -wrapped in strips of cloth, like an Egyptian mummy, but the head and -shoulders are entirely exposed. A long inscription, at the bottom of the -print, explains that “on this occasion a plaster cast was taken of the -face—_on a moulé sur la nature même le plâtre_—from which to-day artists -make their portraits of the great sovereign. The drawing upon which this -engraving is based was executed by an eyewitness, and it shows the exact -and marvellous state of preservation in which the body of the founder of -the Bourbons was discovered. There was an effort made by the National -Assembly to preserve this precious relic; but, alas, it was too late.” -The original mask of Henry is now in the Library of Ste. Geneviève, in -Paris. - -Charles XII. of Sweden was a soldier and little else. He knew no such -word as fear. He was haughty and inflexible. He never thought of -consulting the happiness of his people. He ascended the throne of a -nation rich, powerful, and happy; he died king of a country which was -ruined, wretched, and defenceless. Whether or not he was killed by one -of his own soldiers, history has never been able to determine. He was -shot in the head at the siege of Frederickshald, in Norway, in 1718; and -when his body was exhumed and examined, a hundred and fifty years later, -“the centre of his forehead was found to be disfigured by a depression -corresponding with a fracture of that part of the skull.” The fatal -missile had passed entirely through the King’s head from left to right -in a downward direction; and in the cast in my collection the -indentures, particularly the larger one on the right temple, are clearly -perceptible. An engraving of this death-mask, dated 1823, contains the -legend that it was “made four hours after he was shot, and was taken -from the original cast preserved in the University Library at Cambridge, -by Angelica Clarke.” - ------------------------------------------------------------------------- - -[Illustration: CHARLES XII. OF SWEDEN] - ------------------------------------------------------------------------- - -The copy of this cast in the British Museum is from the Christy -collection. Henry Christy is known to have been in Stockholm at the time -of the sale of the effects of Baestrom, the Swedish sculptor, and he is -believed to have purchased it then and there. It contains more of the -top and back of the head than the cast here reproduced, and it bears, -very unmistakably, evidences of the bullet wounds in the temples. This -cast, the wax mask of Cromwell mentioned above, and a cast of the face -of James II. of England, are the only things of the kind the British -Museum possesses. - -Lavater wrote with unbounded enthusiasm of the impression made upon him -by the face of Frederick the Great, whom he once saw in life. “Of all -the physiognomies I have ever examined,” he said, “there is not a single -one which bears so strongly as this does the impress of its high -destiny. The forehead, which forms almost a straight and continued line -with the nose, announces impatience against the human race, and -communicates the expression of it to the cheeks and lips,” etc. And Mr. -Fowler, who knew Frederick only by his portraits, ascribed to him fine -temperament, intense mentality, great clearness and sharpness of -thought, with a tendency to scholarship, and especially to languages, -and with immense acquisitiveness. - -Carlyle wrote: “All next day the body [of Frederick] lay in state in the -Palace; thousands crowding, from Berlin and the other environs, to see -the face for the last time. Wasted, worn, but beautiful in death, with -the thin gray hair parted into locks and slightly powdered. And at eight -in the evening, Friday, 18th [of August, 1786], he was borne to the -Garrison-kirche of Potsdam, and laid beside his father in the vault -behind the pulpit there.” - -The original of this cast of Frederick the Great is in the Hohenzollern -Museum in Berlin, and of course is authentic. My own copy I brought from -Berlin some ten years ago, with the consent of the authorities of the -Museum. - ------------------------------------------------------------------------- - -[Illustration: FREDERICK THE GREAT] - ------------------------------------------------------------------------- - -Concerning the personal appearance of General Grant, Mr. William A. -Purrington, of New York, thus writes in a private letter, which he has -kindly permitted me to make public: - -“When I first knew the General I was a school-boy, and of course felt -the school-boy’s awe of a great man. Privileged to know him for years in -the intimacy of his own home, I never entirely overcame that feeling. -What was heroic in him grew, and did not diminish. The more I saw of him -the more I felt that he was good as well as great. His face used to be -called sphinx-like. That was scarcely true, for although its expression -was always calm, strong, imperturbable, it was also one of great -gentleness. He surely was a gentleman. Perhaps his hands aided to keep -his face serene, for we must all have some safety-valve. Almost the only -external indication of annoyance I ever noticed in him was a nervous -opening and shutting of his fingers, an index of emotion often observed -by other of his more intimate friends. A notable illustration of this -trait was told me by a gentleman who once accompanied him to a large -public dinner given in his honor. At its close one of the guests -ventured upon the telling of stories which are not told _pueris -virginibusque_. The General’s fingers began to work; he quietly excused -himself; and his companion, who knew the significance of the gesture, -followed him. As they smoked their cigars on the streets of the foreign -city in which this occurred, the General said: ‘I hope I have not taken -you from the table, but I have never permitted such conversation in my -presence, and I never intend to.’ This was not an affectation. His mind, -clear and wholesome, left its imprint in his face. Grossness or scandal -gave him genuine discomfort. He loved to think well of his kind. This -trait showed in his face, gave it benignity, and was, I fancy, the -secret of his hold on the affections of men. We chanced to be alone in -his room one night after the last cruel betrayal of his confidence, he -walking to and fro by the aid of his crutch. Suddenly he stopped, and, -as if following aloud the train of his silent thought, he said: ‘I have -made it a rule of my life to believe in a man long after others have -given him up. I do not see how I can do so again.’ There was no -bitterness in his voice, not even an elevation of tone. It was simply an -exclamation of an honest heart sorely wounded in its belief. - -“As I recall his face, that which I remember is not so much line and -contour as the expression of strength, of great patience, of calmness, -and of gentleness; and the incidents which illustrate pure qualities -also come back freshly to my memory. - ------------------------------------------------------------------------- - -[Illustration: U. S. GRANT] - ------------------------------------------------------------------------- - -“He had, too, a merry face; at times a merry eye. He was full of sly -humor. The twinkling of his eye and his quiet laugh promptly rewarded an -amusing story. In his own home his face was always kind and responsive. -There he was not the silent man the world thought it knew, but a fluent -and well-informed talker on all that was of interest to him. -Undoubtedly, however, he had the gift of silence, and when he saw fit to -exercise it his face became a mask, conversation ceased to be among the -possibilities, and a chat with a graven image would have been a relief -at such a time. He became then, and designedly, a silence-compeller. -When there was nothing to be said, he said nothing.” - -General Grant, on the occasion of the surrender of General Lee at -Appomattox Court House, was thus described by General Horace Porter, his -aide-de-camp: “He was then nearly forty-three years of age, five feet -eight inches in height, with shoulders slightly stooped. His hair and -full beard were a nut-brown, without a trace of gray. He had on a -single-breasted blouse, made of dark-blue flannel, unbuttoned in front, -and showing a waistcoat underneath. He wore an ordinary pair of -top-boots, with his trousers inside and without spurs. The boots and -portions of his clothes were spattered with mud. He had had on a pair of -thread gloves of a dark yellow color, which he had taken off on entering -the room. His felt ‘sugar-loaf,’ stiff-brimmed hat was thrown on the -table beside him. He had no sword, and a pair of shoulder straps was all -there was about him to designate his rank. In fact, aside from these, -his uniform was that of a private soldier.” - -This was thoroughly characteristic of the simplicity and modesty of the -man. He came, in the face of the whole admiring world, to make his -lasting mark upon one of the most important pages of his country’s -history, the General of his country’s armies, perhaps the greatest -soldier of his time, without a spur and without a sword, in the -well-worn uniform of a private of Volunteers. - -He died as bravely and as quietly as he had lived, like one who had even -studied in his death to throw away the dearest thing he owned, as ’twere -a careless trifle. He sleeps now on the banks of the Hudson, in that -enduring, honorable peace for which he had fought so long, and which he -had won so gloriously. His body was greatly wasted by lingering disease, -but those who saw him immediately after death say that his face looked -ten years younger than it had looked during the previous trying months. - -The cast of Grant here presented is still in the possession of his -family in New York; and it is the only copy ever made with their -consent, and to their knowledge. - ------------------------------------------------------------------------- - -[Illustration: WILLIAM T. SHERMAN] - ------------------------------------------------------------------------- - -Of General Sherman, General Porter said: “He was a many-sided man, who -had run the entire gamut of human experience. He had been merchant, -banker, lawyer, professor, traveller, author, doctor, president of a -street railway, and soldier. Wherever he was placed, his individuality -was conspicuous and pronounced. His methods were always original, and -even when unsuccessful they were entertaining. He could not have been -commonplace if he had tried.” There was certainly nothing commonplace in -his personal appearance. His frame was tall and wiry; his hazel eyes -were sharp and penetrating; his nose was aquiline; his beard was short -and crisp; his mouth was firm and tender; his bearing was courtly, -unpretentious, and dignified. He was the typical soldier in appearance -and action; like Grant, he was entirely devoid of any outward expression -of vanity, self-esteem, or self-consciousness. As he was one of the -bravest, so was he one of the gentlest, kindest, most sympathetic of -men. The mask of General Sherman was made immediately after his death, -under the direction of Mr. St. Gaudens. - -Washington was as blessed in his death as in his life. He rests still -upon the banks of the Potomac, among the people whom he so dearly loved -and among whom he died; and no later administration has ever cared to -cut off his head for exhibition on the roof of the Patent Office or the -Smithsonian Institution. - -At least two plaster casts were taken from the living face of -Washington. The first, by Joseph Wright, in 1783, was broken by the -nervous artist before it was dry; and the subject absolutely, and, it is -whispered, profanely, refused to submit to the unpleasant operation -again. The second was made by Houdon, the celebrated French sculptor, in -1785, and from it was modelled the familiar bust which bears Houdon’s -name. - -The original Houdon mask of Washington is now in the possession of Mr. -W. W. Story, in his studio in Rome. He traces it directly from Houdon’s -hands, and naturally he prizes it very highly. It has been preserved -with great care, and of it he says “there is no question that it was -made from the living face of Washington, and that therefore it is the -most absolutely authentic representation of the actual forms and -features of his face that exists. In all respects, any portrait which -materially differs from it must be wrong.” Mr. Story cannot account for -the fact that the sculptor opened the eyes of Washington in the mask, -except upon the supposition that he did not remain long enough at Mount -Vernon to have studied and modelled the eyes for his bust from the face -of Washington himself. - ------------------------------------------------------------------------- - -[Illustration: GEORGE WASHINGTON] - ------------------------------------------------------------------------- - -It is but just to add here that Mr. Story says that never, to his -knowledge or belief, has a cast been made from the original which he -owns. He examined the so-called cast in the Corcoran Gallery at -Washington, and he was fully satisfied that, like all the other -specimens in existence, it is of no value in itself, and was made from a -worn-out copy of the bust. The Washington mask here presented is from a -photograph taken by Mr. Story in Rome, and from his own copy. - -The attempt of the sculptor Browere to take a life-mask of Thomas -Jefferson was not more successful, and was much more disastrous, than -Wright’s attempt upon the face of Washington. Mr. Ben Perley Poore -quotes Clark Mills as telling the following story: “The family of the -ex-President were opposed to it, but he finally consented, saying that -he could not find it in his heart to refuse a man so trifling a favor -who had come so far. He was placed on his back on a sofa, one of his -hands grasping a chair which stood in front. Not dreaming of any danger, -his family could not bear to see him with the plaster over his face, and -therefore were not present; and his faithful Burwell was the only person -besides the artist in the room. There was some defect in the -arrangements made to permit his breathing, and Mr. Jefferson came near -suffocating. He was too weak to rise or to relieve himself, and his -feeble struggles were unnoticed or unheeded by his Parrhasius. - -“The sufferer finally bethought himself of the chair on which his hand -rested. He raised it as far as he was able, and struck it on the floor. -Burwell became conscious of his situation, and sprang furiously forward. -The artist shattered his cast in an instant. The family now reached the -room, and Browere looked as if he thought their arrival most opportune, -for though Burwell was supporting his master in his arms, the fierce -glare of the African eye boded danger. Browere was permitted to pick up -his fragments of plaster and carry them off, but whether he ever put -them together to represent features emaciated with age and debility, and -writhing in suffocation, Mills did not know.” - ------------------------------------------------------------------------- - -[Illustration: BENJAMIN FRANKLIN] - ------------------------------------------------------------------------- - -The mask of Jefferson in the fragmentary condition described above would -be of little value even if it had been preserved. - -When Houdon came to America in 1785 to make the bust of Washington, he -was the companion of Benjamin Franklin, and he was, in all probability, -the author of this cast of Franklin’s face, taken in Paris that year as -a model for the well-known Houdon bust of Franklin, which it somewhat -resembles. The original mask was sold in Paris for ten francs after the -death of the artist in 1828. - -The familiars of Franklin have shown that his face in his old age -changed in a very marked degree. He was in his seventy-eighth or his -seventy-ninth year when he sat for Houdon in 1784-85. Many of the -features of the Franklin cast as here reproduced—the long square chin, -the sinking just beneath the under lip, the shape of the nose, and the -formation of the cheekbones—are strongly preserved in the face of one of -his great-granddaughters now living in Philadelphia. - -Leigh Hunt in his _Autobiography_ said that Franklin and Thomas Paine -were frequently guests at the house of his maternal grandfather in -Philadelphia when his mother was a girl. She remembered them both -distinctly; and in her old age she told her son that while she had great -affection and admiration for Franklin, Paine “had a countenance that -inspired her with terror.” Hunt was inclined to attribute this in a -great measure to Paine’s political and religious views, both of them -naturally obnoxious and shocking to the daughter of a Pennsylvania Tory -and rigid churchman. Concerning the physical as well as the moral traits -of the author of the _Age of Reason_, there seems to have been great -diversity of opinion. To paraphrase the speech of Griffith in _Henry -VIII._ concerning Wolsey, He was uncleanly and sour to them that loved -him not, but to those men that sought him, sweet and fragrant as summer. -His friend and biographer, Clio Rickman, who considered him “a very -superior character to Washington,” gave strong testimony to his personal -attractions and tidiness of dress; while James Cheetham, his biographer -and not his friend, told a very different and not a very pleasant story, -in which soap and water—or their absence—play an important part. The -former, according to Cheetham, was never employed externally by Paine, -and the latter was very rarely, if ever, internally applied. - ------------------------------------------------------------------------- - -[Illustration: THOMAS PAINE] - ------------------------------------------------------------------------- - -None of his earlier biographers give any hint as to the taking of this -death-mask, nor is it to be found in any contemporary printed account of -the death-bed scene, although Mr. Moncure D. Conway, in his _Life of -Paine_, published in 1892, accepts it as genuine, and ascribes it to -Jarvis. All the experts agree that it is the face of Paine, and see in -it a strong resemblance to the face in the Romney portrait, painted in -1792, seventeen years before Paine died. It was undoubtedly made after -death, by John Wesley Jarvis, the painter, who was at one time an -intimate of Paine. He studied modelling in clay, and made the bust of -Paine which is now in the possession of the Historical Society of New -York. Concerning this bust Dr. Francis, in his _Old New York_, wrote: -“The plaster cast of the head and features of Paine, now preserved in -the Gallery of Arts of the Historical Society, is remarkable for its -fidelity to the original at the close of his life. Jarvis, the painter, -then felt it his most successful work in that line of occupation, and I -can confirm the opinion from my many opportunities of seeing Paine.” He -added that Jarvis said, “I shall secure him to a nicety if I am so -fortunate as to get plaster enough for his carbuncled nose,” which was -not a very pretty speech to have made under any circumstances, -particularly if the bust was executed after the subject’s death. - -The death-mask of Aaron Burr was made by an agent of Messrs. Fowler & -Wells, who still possess the original cast. The features are shortened -in a marked degree by the absence of the teeth. Mr. Fowler said that “in -Burr destructiveness, combativeness, firmness, and self-esteem were -large, and amativeness excessive.” It is a curious fact, now generally -forgotten, that Burr and Hamilton resembled each other in face and -figure in a very marked degree, although Burr was a trifle the taller. - ------------------------------------------------------------------------- - -[Illustration: AARON BURR] - ------------------------------------------------------------------------- - -A bust of Burr by Turnerelli, an Italian sculptor residing in London -during the first decade of the century, was exhibited at the Royal -Academy in 1809; and Burr, in his _Diary and Letters_, spoke more than -once of the cast of his face made by the sculptor at that time. He -explained to Theodosia that he “submitted to the very unpleasant -ceremony because Turnerelli said it was necessary,” and because Bentham -and others had undergone a similar penance; and in his _Diary_ he wrote: -“Casting my eyes in the mirror, I observed a great purple mark on my -nose; went up and washed and rubbed it, all to no purpose. It was -indelible. That cursed mask business has occasioned it. I believe the -fellow used quicklime instead of plaster of Paris, for I felt a very -unpleasant degree of heat during the operation.... I have been applying -a dozen different applications to the nose, which have only inflamed it. -How many curses have I heaped upon that Italian!... At eleven went to -Turnerelli to sit. Relieved myself by abusing him for that nose -disaster.... He will make a most hideous frightful thing [of the bust]; -but much like the original.” - -This mask, if it is still in existence—which is not probable—would be an -invaluable addition to the portraiture of Burr. - -Of Lincoln, as of Washington, two life-masks were made—one in Chicago in -the spring of 1860, by Mr. Leonard W. Volk, and here reproduced; one in -Washington, by Clark Mills, three or four years later. Mr. Volk, in the -_Century Magazine_ for December, 1881, gave a pleasant account of the -taking of the former. Lincoln sat naturally in the chair during the -operation, watching in a mirror every move made by the sculptor, as the -plaster was put on without interference with the eyesight or with the -breathing of the subject. When, at the end of an hour, the mould was -ready for removal—it was in one piece, and contained both ears—Lincoln -himself bent his head forward and worked it off gradually and gently, -without injury of any kind, notwithstanding the fact that it clung to -the high cheek-bones, and that a few hairs on his eyebrows and temples -were pulled out by the roots with the plaster. - -This is, without question, the most perfect representation of Lincoln’s -face in existence. I have watched many an eye fill while looking at it -for the first time; to many minds it has been a revelation; and I turn -to it myself more quickly and more often than to any of the others, when -I want comfort and help. What Whittier wrote to James T. Fields of the -Marshall engraving of Lincoln may be said of this life-cast. “It -contains the informing spirit of the man within.... The old harsh lines -and unmistakable mouth are there without flattery or compromise; but -over all, and through all, the pathetic sadness, the wise simplicity, -and tender humanity of the man are visible. It is the face of the -speaker at Gettysburg, and the writer of the second Inaugural.” - ------------------------------------------------------------------------- - -[Illustration: ABRAHAM LINCOLN] - ------------------------------------------------------------------------- - -The Clark Mills mask, said Mr. John Hay, in a later number of the -_Century Magazine_, is “so sad and peaceful in its infinite repose that -the famous sculptor, Mr. St. Gaudens, insisted when he first saw it that -it was a death-mask. The lines are set, as if the living face, like the -copy, had been in bronze; the nose is thin, and lengthened by the -emaciation of the cheeks; the mouth is fixed like that of an archaic -statue; a look as of one on whom sorrow and care had done their worst, -without hope of victory, is on all the features; the whole expression is -of unspeakable sadness and all-sufficing strength. Yet the peace is not -the dreadful peace of death; it is the peace that passeth -understanding.” - -Speaking of Webster, Mr. O. F. Fowler, in his _Practical Phrenology_, -said: “A larger mass of brain, perhaps, never was found, and never will -be found, in the upper and lateral portions of any man’s forehead. Both -in height and in breadth his forehead is prodigiously great.” The head -of Clay, according to the same authority, was also “unusually large. It -measured seven and three-eighths inches in diameter, and it was very -high in proportion to its breadth; the reasoning organs were large, and -the perceptive and semi-perceptive organs still larger.” Mr. G. P. A. -Healy, the painter, said that Mr. Clay’s mouth was very peculiar; that -it was thin-lipped, and extended from ear to ear. This last is not -particularly noticeable in the familiar portraits of Clay, not even in -that painted by Mr. Healy himself. Both Mr. St. Gaudens and Mr. Hartley -incline to the opinion that the mask of Clay in my collection is a cast -from the actual face, and, notwithstanding the fact that the eyelids are -open, that it is from life. Lewis Gaylord Clark, writing in 1852 in -HARPER’S MAGAZINE of Clay’s funeral, said: “His countenance immediately -after death looked like an antique cast. His features seemed to be -perfectly classical, and the repose of all his muscles gave the lifeless -body a quiet majesty seldom reached by living human beings.” - -Comparing Calhoun with Webster, Mr. Fowler attributed to Calhoun the -greater power of analysis and illustration; to Webster, the greater -depth and profundity. In Calhoun he found, united to a very large head, -an active temperament and sharp organs, the greatest peculiarity of his -phrenology consisting in the fact that _all_ the intellectual faculties -were very large. The casts of Webster and Calhoun were made in -Washington by Clark Mills from the living faces—Calhoun’s in 1844, -Webster’s in 1849; and they are, consequently, of no little interest and -value. - ------------------------------------------------------------------------- - -[Illustration: DANIEL WEBSTER] - ------------------------------------------------------------------------- - -[Illustration: HENRY CLAY] - ------------------------------------------------------------------------- - -[Illustration: JOHN C. CALHOUN] - ------------------------------------------------------------------------- - -Sydney Smith, who once called Daniel Webster “a steam-engine in -trousers,” thus disposed of a contemporary British statesman: “Lord -Brougham’s great passions,” he said, “are vanity and ambition. He -considers himself as one of the most wonderful works of Providence, is -incessantly striving to display that superiority to his -fellow-creatures, and to grasp a supreme dominion over all men and all -things. His vanity is so preposterous that it has exposed him to -ludicrous failures, and little that he has written will survive him. His -ambition, and the falsehood and intrigue with which it works, have -estranged all parties from him, and left him, in the midst of bodily and -intellectual strength, an isolated individual, whom nobody will trust, -and with whom nobody will act.” - -The head of Brougham was of full size, but not unusual. A student of -physiognomy, but not a student of the back numbers of the London -_Punch_, who did not recognize the man in this cast, said of it that it -was the head of a man more remarkable for vivacity and quickness of mind -than for original and powerful thinking. George Combe, in the winter of -1838-39, exhibited in the United States a mask of Brougham, of course -from life, for Brougham did not die until thirty years after that—and he -was born in 1778—which is perhaps the mask here reproduced, as it is the -face of a man in his prime, and his was a marvellous prime—not that of a -nonogenarian. Brougham’s powers of activity and endurance were -phenomenal. It is recorded of him that he went from the Law Courts to -the House of Commons, from the House to his own chambers, where he wrote -an article for the _Edinburgh Review_, then, without rest, to the Courts -and the House again, sitting until the morning of the third day before -he thought of his bed or his sleep; and that during all this time he -showed no signs of mental or physical fatigue. Such continuous activity -certainly did not shorten his days, even if it lengthened his nights. - ------------------------------------------------------------------------- - -[Illustration: LORD BROUGHAM] - ------------------------------------------------------------------------- - -Probably no single facial organ in the world has been the subject of so -much attention from the caricaturists as the nose of Lord Brougham. It -is doubtful if any two consecutive numbers of any so-called comic or -satirical journal appeared in England during Brougham’s time without -some representation of Brougham’s nose. The author of _Notes on Noses_ -thus spoke of it: “It is a most eccentric nose; it comes within no -possible category; it is like no other man’s; it has good points and bad -points and no point at all. When you think it is going right on for a -Roman, it suddenly becomes a Greek; when you have written it down -cogitative, it becomes as sharp as a knife.... It is a regular Proteus; -when you have caught it in one shape it instantly becomes another. Turn -it and twist it and view it how, when, and where you will, it is never -to be seen twice in the same shape; and all you can say of it is that -it’s a queer one. And such exactly,” he added, “is my Lord Brougham.... -Verily my Lord Brougham and my Lord Brougham’s nose have not their -likeness in heaven or earth.... And the button at the end is the cause -of it all.” - -An interesting tribute to this remarkable organ is to be found in the -printed _Correspondence of John Lothrop Motley_. Concerning -Commemoration Day at Oxford he wrote, in 1860, “Nothing could be more -absurd than Lord Brougham’s figure, long and gaunt, with snow-white hair -under the great black porringer, and his wonderful nose wagging lithely -from side to side as he hitched up his red petticoats [Commemoration -robes] and stalked through the mud.” - -There is no button on the end of the nose of the specimen of humanity -whose mask forms a tail-piece to this volume. Cowper, Combe, and others -believed that the brain of the native African is inferior in its -intellectual powers to the brain of the man of European birth and -descent, while a certain body of naturalists contend that the negro owes -his present inferiority entirely to bad treatment and to unfavorable -circumstances. The black boy, the cast of whose face was made for this -collection at St. Augustine, Florida, by Mr. Thomas Hastings, the -architect, a year or two ago, has undoubtedly been for generations the -victim of unfavorable circumstances, and perhaps of bad treatment as -well. He is, at all events, one of the lowest examples of his race, and -his life-mask is only interesting here as an object of comparison. -Whatever the head of a Bonaparte, a Washington, a Webster, or a Brougham -is, his head is not. But whether his Creator or the Caucasian is -responsible for this, the naturalists and experts must decide. - -[Illustration: FLORIDA NEGRO BOY] - ------------------------------------------------------------------------- - - - - - INDEX - - - AGASSIZ, LOUIS, 149. - - Aldrich, Thomas Bailey, quoted, 37. - - Atterbury, Bishop Francis, quoted, 81. - - - BARRETT, LAWRENCE, 28, 33, 34-37. - - Barrett, Lawrence, quoted, 41. - - “Barry Cornwall,” quoted, 27. - - BEACONSFIELD, EARL OF, 177-182. - - BEETHOVEN, LUDWIG VON, 61-68. - - BENTHAM, JEREMY, 117-122. - - Blacklock, Archibald, quoted, 191. - - BONAPARTE, NAPOLEON, x., 4, 197-201. - - BOOTH, EDWIN, x., 28, 38, 41, 42. - - BOUCICAULT, DION, 28, 31-33. - - Brontë, Charlotte, quoted, 86. - - BROUGHAM, LORD, 261-265. - - Brown, John, M.D., quoted, 92. - - Browning, Mrs. Elizabeth Barrett, quoted, 146, 205. - - BRUCE, KING ROBERT, 193. - - BURKE, EDMUND, 168-171. - - BURNS, ROBERT, 191-192. - - BURR, AARON, xi., 246-249. - - Burr, Aaron, quoted, 117. - - - Caine, Hall, quoted, 122. - - CALHOUN, JOHN C., 254. - - CANOVA, ANTONIO, 138, 150, 157, 158. - - Carlyle, Thomas, quoted, 58, 99, 100, 211, 212, 222. - - CAUNT, BEN, x., 85, 86. - - CAVOUR, COUNT, 125, 126. - - Chadwick, John A., quoted, 34. - - CHALMERS, THOMAS, x., 92-96. - - Chantrey, Sir Francis, quoted, 13. - - CHARLES XII., xiii., 218-221. - - Cheetham, James, quoted, 242. - - Cicognara, Count, quoted, 157. - - Clark, Lewis Gaylord, quoted, 254. - - Clarke, Asia Booth, quoted, 38-41. - - Clarke, Charles Cowden, quoted, 96, 106, 109. - - CLAY, HENRY, x., 253, 254. - - Coleridge, Ernest Hartley, quoted, 100. - - COLERIDGE, SAMUEL TAYLOR, xii., 96-100. - - Coleridge, Sara, quoted, 99. - - Collins, Wilkie, quoted, 145. - - Combe, George, quoted, 121. - - Cottinet, Edmund, quoted, 53-54. - - Croker, John Wilson, quoted, 171-172. - - CROMWELL, OLIVER, x., 4, 205-213. - - Cumberland, Richard, quoted, 19. - - Cunningham, Peter, quoted, 145. - - CURRAN, JOHN PHILPOT, 171. - - Curtis, George William, quoted, 41, 150. - - - DANTE, x., 5-9. - - d’Arblay, Madame, quoted, 46. - - Davies, Thomas, quoted, 46. - - Davis, Mrs. Jefferson, quoted, 150. - - Dickens, Charles, quoted, 91. - - Diodorus Siculus, quoted, 3. - - DISRAELI, BENJAMIN, 177-182. - - - EDWARDS, HENRY, 28, 33, 37, 38. - - Evans, Mary Ann, quoted, 125. - - Evelyn, John, quoted, 209. - - - Faucit, Helen, quoted, 27-28. - - Fitzgerald, Percy, quoted, 46. - - Fowler, O. F., quoted, 221, 222, 246, 253, 254. - - Francis, John W., M.D., quoted, 245. - - FRANKLIN, BENJAMIN, 241. - - Fraser, Sir William, quoted, 177. - - FREDERICK THE GREAT, xi., 4, 50, 221, 222. - - Frith, W. P., quoted, 142, 181, 182. - - - Gallenza, A., quoted, 131. - - GARRICK, DAVID, 19-23. - - “George Eliot,” quoted, 125. - - George IV., quoted, 141. - - Gilder, R. W., quoted, 106. - - GRANT, U. S., x., 4, 222, 225-230. - - Greville, Charles C. F., quoted, 100, 103. - - Griffin, Gerald, quoted, 164. - - - Hale, Philip, quoted, 62, 67. - - Hall, S. C., quoted, 100. - - Hawthorne, Nathaniel, quoted, 146. - - Hay, John, quoted, 250, 253. - - HAYDON, BENJAMIN ROBERT, 113-117, 138. - - Haydon, Benjamin Robert, quoted, 103, 104. - - Hazlitt, William, quoted, 103. - - Healey, G. P. A., quoted, 253. - - HENRY IV., 213-218. - - Howells, William D., quoted, 132. - - Hunt, Leigh, quoted, 46, 49, 103, 109, 164, 241, 242. - - - Irving, Henry, quoted, 41. - - Irving, Peter, quoted, 49. - - - Jefferson, Thomas, 237, 238. - - Jerrold, Douglas, quoted, 91. - - JOHNSON, SAMUEL, 110-113. - - - KEAN, EDMUND, 23-28. - - Kearsley, George, quoted, 110, 113. - - KEATS, JOHN, x., xv., 105-110. - - Kemble, Fanny, quoted, 27. - - Kinglake, Alexander W., quoted, 202. - - Kirkup, Seymour, quoted, 5. - - - Lampadius, W. A., quoted, 71. - - Lavater, Johann Kasper, quoted, xiv., 221. - - LAWRENCE, SIR THOMAS, 138-142. - - LEOPARDI, GIACOMO, x., 132. - - Leslie, Charles Robert, quoted, 24. - - LINCOLN, ABRAHAM, 249-253. - - Lockhart, John Gibson, quoted, 187. - - Longfellow, Henry W., quoted, 149. - - Lorne, Marquis of, quoted, 172. - - LOUISE OF PRUSSIA, xi., 50-53. - - - Macaulay, Thomas B., quoted, 114, 117. - - Madden, R. R., quoted, 141, 142, 202. - - MALIBRAN, MARIA F., 53, 54. - - Manso, Giovanni Battista, quoted, 10. - - MARAT, JEAN PAUL, 71, 72, 75, 76. - - Martin, Lady, quoted, 27, 28. - - MCCULLOUGH, JOHN, 28, 33. - - MENDELSSOHN, FELIX, 68-71. - - Mill, John Stuart, quoted, 117. - - Mills, Clark, quoted, 237-238. - - MIRABEAU, G. R., 71, 72, 76. - - MOORE, THOMAS, 164-168. - - Motley, John Lothrop, quoted, 86, 91, 265. - - - NAPOLEON I., x., 4, 197-201. - - NAPOLEON III., xv., 201-205. - - NEWTON, SIR ISAAC, x., 76, 81-82. - - Newton, Sir Isaac, quoted, 5-6. - - Niebuhr, Berthold George, quoted, 132. - - Noble, Mark, quoted, 213. - - - Opie, John, quoted, 141. - - O’REILLY, JOHN BOYLE, 132, 137, 138. - - Osgood, Samuel, D.D., quoted, 146. - - - PAINE, THOMAS, x., 241, 246. - - Palleske, E., quoted, 58. - - PALMERSTON, LORD, 172, 177. - - Parton, James, quoted, 117. - - Payne, John Howard, quoted, 49. - - Percy, Thomas, D.D., quoted, 113. - - Pettigrew, Thomas J., quoted, 3. - - Phillips, John, quoted, 181, 182. - - PIUS IX., x., 131. - - Poore, Ben Perley, quoted, 237, 238. - - Porter, Horace, quoted, 229, 230, 233. - - POWERS, HIRAM, 138, 146. - - Procter, B. W., quoted, 27. - - Procter, Mrs. B. W., quoted, 109. - - Purrington, William A., quoted, 222, 225, 226, 229. - - - Redding, Cyrus, quoted, 209, 210. - - Reid, T. Wemyss, quoted, 181. - - Rickman, Clio, quoted, 242. - - ROBESPIERRE, MAXIMILIAN, 76, 81. - - Robinson, Henry Crabb, quoted, 27, 132. - - Roche, James Jeffrey, quoted, 137. - - ROSSETTI, DANTE G., 122-125. - - Rossetti, William M., quoted, 122. - - Ruskin, John, quoted, 157, 158. - - Russell, Lord John, quoted, 167, 168. - - - SCHILLER, FREDERICK, xi., 54, 57, 58. - - Schliemann, Heinrich, quoted, 2. - - SCOTT, SIR WALTER, 187-191. - - Scott, Sir Walter, quoted, 182, 197, 198. - - Seward, William H., quoted, 150. - - SHAKSPERE, 10-19. - - Sharp, William, quoted, 109, 110. - - SHERIDAN, RICHARD BRINSLEY, xii., 158, 163, 164. - - Sheridan, Richard Brinsley, quoted, 19, 168. - - SHERMAN, WILLIAM T., 4, 233. - - Sherwood, Mrs. M. E. W., quoted, 42. - - SIDDONS, SARAH, 42, 45-50. - - Smith, Southwood, quoted, 118, 121. - - Smith, Sydney, quoted, 261. - - Speed, John Gilmer, quoted, 105. - - Spencer, O. M., quoted, 125, 126. - - Story, W. W., quoted, xiv., 234, 237. - - SUMNER, CHARLES, 150. - - SWIFT, JONATHAN, xiii., 182-186. - - - TASSO, TORQUATO, x., 9-10. - - Taylor, Bayard, quoted, 68, 71. - - Taylor, Sir Henry, quoted, 104. - - THACKERAY, WILLIAM M., 86, 91, 92, 95. - - Ticknor, George, quoted, 49. - - TURNER, J. M. W., 142-145. - - - Volk, Leonard W., quoted, 237, 238. - - - Warville, Brissot de, quoted, 117. - - WASHINGTON, xiv., 4, 233-237, 241, 249. - - WEBSTER, DANIEL, 253, 254. - - Weld, Charles Richard, quoted, 82, 85. - - Whipple, E. P., quoted, 149. - - Whittier, John G., quoted, 250. - - Wikoff, Henry, quoted, 202, 205. - - Wilde, Sir William, quoted, 182, 186. - - Willis, Nathaniel P., quoted, 167, 177, 178, 181. - - Winter, William, quoted, 34, 37, 38. - - WORDSWORTH, WILLIAM, 100-105. - - - Young, Julian Charles, quoted, 95, 96. - - -THE END - ------------------------------------------------------------------------- - - - - - BY LAURENCE HUTTON. - - -CURIOSITIES OF THE AMERICAN STAGE. Illustrated. Crown 8vo, Cloth, $2 50. - -EDWIN BOOTH. Illustrated. 32mo, Cloth, Ornamental, 50 cents. - -FROM THE BOOKS OF LAURENCE HUTTON. With Portrait. 16mo, Cloth, - Ornamental, $1 00. - -LITERARY LANDMARKS OF EDINBURGH. Illustrated. Post 8vo, Cloth, $1 00. - -LITERARY LANDMARKS OF LONDON. Illustrated. 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