priggish boy, and the equally faultless and uninteresting man, whom he originated, have become in the process of development a myth. So in its further development is the Washington of the humorist a myth. Both alike are utterly and crudely false. They resemble their great original as much as Greenough's classically nude statue, exposed to the incongruities of the North American climate, resembles in dress and appearance the general of our armies and the first President of the United States. Such are the myth-makers. They are widely different from the critics who have assailed Washington in a sidelong way, and who can be better dealt with in a later chapter. These last bring charges which can be met; the myth-maker presents a vague conception, extremely difficult to handle because it is so elusive. One of our well-known historical scholars and most learned antiquarians, not long ago, in an essay vindicating the "traditional Washington," treated with scorn the idea of a "new Washington" being discovered. In one sense this is quite right, in another totally wrong. There can be no new Washington discovered, because there never was but one. But the real man has been so overlaid with myths and traditions, and so distorted by misleading criticisms, that, as has already been suggested, he has been wellnigh lost. We have the religious or statuesque myth, we have the Weems myth, and the ludicrous myth of the writer of paragraphs. We have the stately hero of Sparks, and Everett, and Marshall, and Irving, with all his great deeds as general and president duly recorded and set down in polished and eloquent sentences; and we know him to be very great and wise and pure, and, be it said with bated breath, very dry and cold. We are also familiar with the common-place man who so wonderfully illustrated the power of character as set forth by various persons, either from love of novelty or because the great chief seemed to get in the way of their own heroes. If this is all, then the career of Washington and his towering fame present a problem of which the world has never seen the like. But this cannot be all: there must be more behind. Every one knows the famous Stuart portrait of Washington. The last effort of the artist's cunning is there employed to paint his great subject for posterity. How serene and beautiful it is! It is a noble picture for future ages to look upon. Still it is not all. There is in the dining-room of Memorial Hall at Cambridge another portrait, painted by Savage. It is cold and dry, hard enough to serve for the signboard of an inn, and able, one would think, to withstand all weathers. Yet this picture has something which Stuart left out. There is a rugged strength in the face which gives us pause, there is a massiveness in the jaw, telling of an iron grip and a relentless will, which has infinite meaning.