There have been some men in the world's history-and they are necessarily few-who by their deaths have deprived mankind of the power to do justice to their merits, in those particular spheres of excellence in which they had been pre-eminent. When the "immortal" Raphael for the last time laid down his palette, still moist with the brilliant colors which he had spread upon his unfinished masterpiece, destined to be exposed to admiration above his bier, he left none behind him who could worthily depict and transmit to us his beautiful lineaments: so that posterity has had to seek in his own paintings, among the guards at a sepulchre, or among the youthful disciples in an ancient school, some figure which may be considered as representing himself. When his mighty rival, Michelangelo, cast down that massive chisel which no one after him was worthy or able to wield, none survived him who could venture to repeat in marble the rugged grandeur of his countenance; but we imagine that we can trace in the head of some unfinished satyr, or in the sublime countenance of his Moses, the natural or the idealized type from which he drew his stern and noble inspirations. And, to turn to another great art, when Mozart closed his last uncompleted score, and laid him down to pass from the regions of earthly to those of heavenly music, which none had so closely approached as he, the science over which he ruled could find no strains in which worthily to mourn him except his own, and was compelled to sing for the first time his own marvelous requiem at his funeral. No less can it be said that when the pen dropped from Shakespeare's hand, when his last mortal illness mastered the strength of even his genius, the world was left powerless to describe in writing his noble and unrivalled characteristics. Hence we turn back upon himself, and endeavor to draw from his own works the only true records of his genius and his mind. (1)