e the tradition or story of a people. How impossible to explain to the twentieth century the bad mystery of our present, without the aid of Powers's head of Calhoun, the less adequate bust of Stephen A. Douglas, and the one which should be modelled of Mr. Buchanan! A faithful delineation of the features of some men is needful. We should be thankful for that black frown of Nero, for the bald pate of Scipio, for those queer eyes of Marius, and for the long neck of Cicero, as seen in the newly discovered bust. These are the signs of the men, and explain them.
Mr. Powers has succeeded in reporting more accurately than any other recent artist the physical facts of the individual face. From one of his marbles we derive definite ideas of the human character of its subject, what its ambition is, and what its weakness; what have been its loves and its antipathies, its struggles and its victories, its joys and its sorrows, may be revealed to him who has learned what the human face becomes under the influenc
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