The times. [volume] (Richmond, Va.) 1890-1903, 1890-07-06
PORTRAITS OF AUTHORS.

PORTRAITS OF AUTHORS.
Engraved portraits are not the most
satisfactory things ia the world, but
they have a certain fascination quite
their own, and after all, perhaps, they
are almost as satisfactory as biographi-
cal portraits, aud in general way as
true to their originals. We may take
ii for granted that those pictures Of
celebrated people. made by artists who
hal an ak to grind, we're flattering pic
lures and not in the best sense portraits
or likenesses. Furthermore, the old en-
cravings made from these somewhat
glorified drawings cannot be relied up
on as accurate productions.
Recently have found time to go
through the Library OF American Liter
AZURE, by E. G.. Stedman and Miss
Hutchinson, not reading through it,
that is a work Of years, but tasting
through it and lingering with the por-
traits contained in it.
The frontispieces naturally attract
most attention. beginning with the Wig
orous, rufiianly face Of Captain John
Smith. and ending with Bret Harte's
comely cOuutenauce. ten in all, gal
lery of genius If [ had criticism to
offer, it would be that Theodore Win
throp should not have had precedence
in the ninth volume, where Aldrich,
Burroughs, Howells, Eggleston. and
many others, far above Winthrop in
literary genius. appear in secondary
places. That Wiothrop was a brave,
l. thArn ~ IN
be no doubt, and his death crowned his
life: but war is war, and literature
Is literature. Theodore Winthrop gave
encouraging promise, but he has left
nothing from which we may draw the
certainty that he was a man of eXtraor-
binary literary ability. To my mind he
had no right whatever to the place OF
homer in literary comparison, over a
full bakers dozen of his superiOrs.
Cotton Mather, with his courageous
face and mastery wig. rightfully leads
the corps of Vol. IL, Ben Franklin
usurps nothing in taking first seat in
Vol. ILL.,; Charles Brockden Brown has
his title clear to overtop the crowd in
Vol. "; but here is Washington Irv-
ing PLAYING first fiddle over William
Cullen Bryant in VOL ", which l don't
like. Hawthorne, Notwithstanding Poe
and Emerson. has his proper place at
the front in Vel. VI: so has james
Russell Lowell found his own in Iaking
the lead in Vol. VII; nor can we fairly
grumble at PaIkman for having his
clean, clear business-like iace preferred
in Vol. VIII: aud in Vol. Y. there can
be no question that Bret Harte has
taken his proper position.
OF course this is mere bubble about
pictures. and shouldn't make it if |
could find anythiog else TO grumble
about Just now. Mr.. Stedman and Miss
Hutchinson have done their colossal
task SO well that 1t is not safe to praise
them to the full measure of their de-
serts. After all, the reader is left TO de-
eide for himself as to the real matter OF
precedence.
Surprising that | were asked to de-
eide which of these mauy faces looks
most like my ideal of the window of
genius, | should decline the task with
appropriate thanks; but | might venture
few remarks about those portraits
which represent dead authors, for in SO
doing could AVOID the triaing embar-
rassment of a few bricks hurled at my
own conscience.
Hawthorne picture has heavy.
dull. uuinspired look, as if the original
might have bee sleepy when he sat for
l.; but the forehead is tine one-broad,
high, full-suggesting big brain.
Sadness. more of temperament than OF
experience, looks out of the eyes. and
one is compelled to say that it is not a
thoroughly friendly or congenial coun-
tenance.
Charles BrockdeD Brown gazes right
out of the page with clear, earnest.
magnetic eyes. His features remind
one little of Emerson's, as shown in
his youthful portraits, but they suggest
more energy and fire with less of philo-
sophie reserve.
Theodore Winthrop's face is disap-
pointing in every way. so is that of n.
p. Willis; but Charles Fenno Hoffman
is a supeibly handsome and winning
one. Pue's features are fine. but the
expression is not pleasing; the eyes are
insincere. and the mouth is ready to
smirk. His forehead is magnifioently
developed. with Just a suspicion OF
approaching badness at the top.
Margaret Fuller OSsoli, whom Poe,
writing in one of his fairest moods, did
not dare call altogether beautiful, sits
reading book with her elbows at SHARP
angles and with her head poised stiffiy
Her face is immensely long. her nose
large and her chin strikingly promi
nent. Her hair is combed smoothly
down at the sides Of her head, and a
slender stran1 is drawn under each cal
apparently, and fastened at the back OF
the columnar neck. She has firm
prim. old maidish air. and the cast oil
her brows and forehead hints of Ger
tain oddity of temperament.
Washington Irying's face is the type
OF good-natured. optimistic genius, ia
Gle, cunning, not too deeply sincere, q
good f,iend, good Laughter, ready fol
the table, and busy all the year round
IL you had 10 rely solely on this pic
tire you would be ready to trust tn,
man as jolly good travelling compan
ION, but you would hesitate about hi
deep scholarship or his critical judg
me, t.
Lolg elbows pic ure is OF Il Q man il