Beneath this marble _Are deposited the ashes of_ JOSEPH JEFFERSON, _An actor whose unrivalled powers_ Took in the whole extent of Comic Character, From Pathos to heart-shaking Mirth. His coloring was that of nature, warm, fresh, And enriched with the finest conceptions of Genius. He was a member of the Chestnut Street Theatre, Philadelphia, In its most high and palmy days, _and the compeer_ OF COOPER, WOOD, WARREN, FRANCIS, _and a host of worthies_ Who, like himself, _Are remembered with admiration and praise._ The love and reverence which Forrest cherished for this exquisite actor and good man were in the eyes of the numerous friends who often heard him express them in fond lingering reminiscences, a touching proof of the goodness of his own heart despite all the scars it had suffered. When Forrest was playing at Louisville in his youth, during a rehearsal of Macbeth he came to the lines,— “Till that Bellona’s bridegroom, lapped in proof, Confronted him with self-comparisons,” when Drake, the manager of the theatre, who happened to be on the stage, said to him, “Boy, who was Bellona? And who was her bridegroom?” The stripling tragedian was forced to answer, “I do not know.” “Then,” exclaimed Drake, “get a classical dictionary and study the thing out. Never go on spouting words ignorant of their meaning.” “Thank you, sir, for so good a piece of advice,” replied young Forrest, with a little mortification in his air. “I have had that lesson before, but see that I have failed to practise it as I ought to have done.” A long time after, in another city, when Drake had become a venerable white-haired gentleman, Forrest was rehearsing Othello in his presence. These lines were spoken relating to the magic handkerchief: “A sibyl, that had numbered in the world The sun to course two hundred compasses, In her prophetic fury sewed the work; The worms were hallowed that did breed the silk; And it was dyed in mummy, which the skilful Conserved of maidens’ hearts.”