to art than to humanity is he who shall deliver the world of these.
The artist has chosen, with admirable judgment, a quiet, restful, familiar phase of Mr. Lincoln's life, with the social and genial sentiments of his nature at play, rather than some more impressive and startling hour of his public life, when a victory was gained, or an immortal sentence uttered at Gettysburg or the Capitol, or when, as the great Emancipator, he walked with his liberated children through the applauding streets of Richmond. It was tempting to paint him as President, but triumphant to represent him as a man.
Though the face is wanting in the crowning glory of the dramatic, the romantic, the picturesque,—elements so fascinating to an artist,—we still feel no loss in the absence of these; for Mr. Marshall has found abundant material in the rich and varied qualities that Mr. Lincoln did possess, and has treated them with the loftier sense of justice and truth, he has employed no adventitious agencies to give brilliancy or emphasis to any salient point in the character of the man he portrays; he has treated Mr. Lincoln as he found him; he has interpreted him as he would have interpreted himself; in inspiration, in execution, and in result, he thought of none other, he labored for none other, he has given us none other, than simple, honest Abraham Lincoln.
Were all the biographies and estimates of the President's character to be lost, it would seem as if, from this picture alone, the distinguishing qualities of his head and heart might be saved to the knowledge of the future; for a rarer exhibition seems impossible of the power of imparting inner spiritual states to outward physical expression.
As a work of art, we repeat, this is beyond question the finest instance of line-engraving yet executed on this continent. Free from carelessness or coarseness, it is yet strong and emphatic; exquisitely finished, yet without painful over-elaboration; with no weary monotony of parallel lines to fill a given space, and no unrelieved masses of shade merely because here must the shadow fall.
As a likeness, it is complete and final. Coming generations will know Abraham Lincoln by this picture, and will tenderly and lovingly regard it; for all that art could do to save and perpetuate this lamented man has here been done. What it lacks, art is incapable to express; what it has lost, memory is powerless to restore.
There is, at least, some temporary solace to a bereaved country in this,—that so much has been saved from the remorseless demands of Death; though the old grief will ever come back to its still uncomforted heart, when it turns to that tomb by the Western prairie, within whose sacred silence so much sweetness and kindly sympathy and unaffected love have passed away, and the strange pathos, that we could not understand, and least of all remove, has faded forever from those sorrowful eyes.
REVIEWS AND LITERARY NOTICES.
The grandeur which can survive proximity was peculiarly Abraham Lincoln's. Had that great and simple hero had a valet,—it is hard to conceive of him as so attended,—he must still have been a hero even to the eye grown severe in dusting clothes and brushing shoes. Indeed, first and last, he was subjected to very critical examination by the valet-spirit throughout the world; and he seems to have passed it triumphantly, for all our native valets, North and South, as well as those of the English press, have long since united in honoring him.
We see him in this book of Mr. Carpenter's to that advantage which perfect unaffectedness and sincerity can never lose. It is certainly a very pathetic figure, however, that the painter presents us, and not
