There are many literal presentations of ordinary personages in books which, I am informed, and I suppose I am to assure myself, are introduced expressly to intensify and illustrate the chief and peculiar interest where an interest is, or to allure the attention of the implicit, where it is not. But how does it happen that the delineations of the gods among men, the heroic, gifted few, the beings of imaginative might or genius, are so infinitely more literal? Who--worshipping, if not strong enough to serve, the Ideal--can endure the graceless ignorance of his subject betrayed by many a biographer, accepted and accomplished in his style? Who, so worshipping, can do anything but shudder at the meagre, crude, mistakable portraits of Shakspeare, of Verulam, of Beethoven? Heaven send my own may not make me shudder first, and that in my attempt to recall, through a kind of artistic interlight, a few remembered lineaments, I be not self-condemned to blush for the spiritual craft whose first law only I had learned. I know how many notions grown persons entertain of their childhood as real, which are factitious, and founded upon elder experience, until they become confounded with it; but I also feel that in great part we neglect our earliest impressions, as vague, which were the truest and best we ever had. I believe none can recall their childish estimate or essence without identifying within their present intimate selves. In my own case the analogy is perfect between my conceptions then and my positive existence now. So every one must feel who is at all acquainted with the liabilities of those who follow art. The man of power may manage to merge his individuality in his expansive association with the individuality of others; the man of science quenches self-consciousness in abstraction; and not a few who follow with hot energy some worldly calling, become, in its exercise, as itself, nor for a solitary moment are left alone with their personality to remember even that as separate and distinctly real. But all artists, whether acknowledged or amateur, must have proved that, for themselves, the gauge of immortality, in life as in art, consists in their self-acquaintance, their self-reliance, their exact self-appreciation with reference to their masters, their models, their one supreme ideal.