no doubt, was one of his safeguards against that insidious temptation to intemperance to which so many members of his profession, from the exhausting nature of its irregular exertions, are fatally exposed. A full force of vitality transfuses the elastic frame with an electric consciousness of pleasure and wealth. It is the ready power to do anything we like within the limits of our nature, just as a rich man feels that he can buy this, that, or the other thing at any moment if he wishes. In contrast with the drooping, tremulous man, overtasked and drained, startled at each sound, shrinking from the thought of effort, crossing the street to avoid the trial of accosting an acquaintance, afflicted with lingering pains by the slightest injury, there is nothing so inexhaustibly fascinating as an exuberant vigor of life in the senses, easily shedding annoyances, quickly healing hurts, ready at every turn for transmutation into any form of the universal good. The effect of an artistic drill resolutely applied is something which very few persons appreciate. Faithfully practised, its power is surprising. Most observers, instead of recognizing its steady accumulation of gains, attribute the startling result to exceptional genius. Artistic drill for super-eminent excellence in _any_ personal accomplishment has a moral value no less than a physical service but little understood. It lifts one above the multitude in that particular and gives him distinction. It thus fosters self-respect and puts him at work with greater zeal and assurance. It is thus a moral basis of inspiration and contentment. The _drill_ of the horseman, the sportsman, the boxer, the soldier, the dancer, the singer, the orator, has an effect quite distinct from and superior to that of labor or exercise. Labor or exercise is straggling, broken, fitful; but drill is regular, symmetric, _rhythmical_, and has an influence to refine and exalt by economizing and directing the forces of the organism while enhancing them. It is a discipline of art. In its final completeness, corporeal and mental, it gives one an easy confidence, a feeling of competency, which is a great luxury. It enables one to stand up before his fellow-men with free chest and alert spirit and look straight in their eyes without blenching and perform his tasks without flurry. This was Forrest. He attained this deliberate self-possession, this mastery of his resources, in a degree which cannot be ascribed to one actor out of ten thousand, to one man out of a million. A brief account of his first appearance in Boston will give an idea of the experience which he enjoyed in those years, in constant repetition, as his fresh engagements led him over the land from city to city. "BOSTON, February 7th, 1827.