His brows are tense and damp with the dews of thought. In that head you see the great future, careless of the black and white stones; and even when you turn to the voluptuous beauty of the mouth, the impression remains so strong, that Russia's snows, and mountains of the slain, seem the tragedy that must naturally follow the appearance of such an actor. You turn from him, feeling that he is a product not of the day, but of the ages, and that the ages must judge him. Near him is a head of Ennius, very intellectual; selfcentred and self-fed; but wrung and gnawed by unceasing thoughts. Yet, even near the Ennius and Napoleon, our American men look worthy to be perpetuated in marble or bronze, if it were only for their air of calm, unpretending sagacity. If the young American were to walk up an avenue lined with such effigies, he might not feel called to such greatness as the strong Roman wrinkles tell of, but he must feel that he could not live an idle life, and should nerve himself to lift an Atlas weight without repining or shrinking. The busts of Everett and Allston, though admirable as every-day likenesses, deserved a genius of a different order from Clevenger. Clevenger gives the man as he is at the moment, but does not show the possibilities of his existence. Even thus seen, the head of Mr. Everett brings back all the age of Pericles, so refined and classic is its beauty. The two busts of Mr. Webster, by Clevenger and Powers, are the difference between prose,— healthy and energetic prose, indeed, but still prose,—and poetry. Clevenger's is such as we see Mr. Webster on any public occasion, when his genius is not called forth. No child could fail to recognize it in a moment. Powers'
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