In ending this chapter of the friendships of Forrest, the justice of history requires a few words more. For there are several names of friends, who were long very dear to him and to whom he was very dear, which should be added to those set down above. The reason why no account of their relationship has been embodied here, is simply that the writer had not knowledge of any incidents which he could so narrate as to make them of public interest. Yet the friendships were of the most endeared character, full of happiness, and never marred or clouded. The names of the Rev. Elias L. Magoon, Colonel John W. Forney, and Mr. James Rees should not be omitted in any list of the friends of Edwin Forrest. And still more emphatic and conspicuous mention is due to that intimate, affectionate, and sustained relation of trust and love with Daniel Dougherty, on which the grateful actor and man set his unquestionable seal in leaving him a bequest of five thousand dollars and making him one of the executors of his will and one of the trustees of his estate. CHAPTER XX. PLACE AND RANK OF FORREST AS A PLAYER.—THE CLASSIC, ROMANTIC, NATURAL, AND ARTISTIC SCHOOLS OF ACTING. Forrest being the most conspicuous and memorable actor America has produced, it is desirable to fix the place and rank which belong to him in the history of his profession. To do this with any clearness or with any authority we must first penetrate to the central characteristics of each of the great schools of acting, illustrate them by some examples, and explain his relation to them. Omitting the consideration of comedy and confining our attention to tragedy, the most familiar distinction in the styles of dramatic representation is that which divides them into the two schools called Classic and Romantic or Ancient and Modern. But this enumeration is altogether insufficient. It needs to be supplemented by two other schools, namely, the Natural and the Artistic.