onfine our interest and study to the portraiture which he has executed, we might, in view of its remarkable character, designate it as historical.
Than a really great portrait, no work of art can be more truly historical. We feel the subjectiveness of compositions intended to transmit facts to posterity,--and unless we know the artist, we are at a loss as to the degree of trust which we may place in his impressions. A true portrait is objective. The individuality of the one whom it represents was the ruling force in the hour of its production; and to the spirit of a household, a community, a kingdom, or an age, that individuality is the key. There is, too, in a genuine portrait an internal evidence of its authenticity. No artist ever was great enough to invent the combination of lines, curves, and planes which composes the face of a man. There is the accumulated significance of a lifetime,--subtile traces of failures or of victories wrought years ago. How these will manifest themselves, no experience can p