He loved to stand out in some commanding form of virtue, heroism, or struggle, battling with trials that would appall common souls, setting a great example, and evoking enthusiasm. This was his glory. The zeal with which he ever regarded this phase of his profession, the delight with which he revelled in the contemplation of ideal strength, fortitude, courage, devotion, was a grand attribute of his soul. Accordingly, all his favorite parts were expressions of a high-souled manhood, reverential towards God, truth, and justice, and fearing nothing; a proud integrity and hardiness competent to every emergency of life and death; an unbending will, based on right and entwined with the central virtues of honor, friendship, domestic love, and patriotic ardor. And surely these are the qualities best deserving universal respect, the democratic ideals most wholesome to be cultivated. This is what he most innately loved and stood on the stage to represent. He did it with immense earnestness and immense individuality. He did it also with a conscientious devotion to his chosen art and profession that never faltered. In none of his performances was there ever anything in the least degree savoring of pruriency or indelicacy. Never, after his boyhood was past, could he be induced to appear in any trivial or unmeaning role, destitute of moral purpose and dignity. With not one of those many innovations which have detracted so much from the rank and purity of the drama was his name ever associated. He was ever strongly averse in his own person to touching in any way any play which was not enriched and elevated by some imaginative romantic or heroic creation. And, with a world-wide removal from the so common frivolity and carelessness of his associates on the boards, he approached every one of his performances with a studious sobriety, and went through it with an undeniable dignity and earnestness, which should have lifted him beyond the reach of ridicule, whatever were the faults an honorable criticism might affirm.