Finally, we may refer those who believe that the shape of the brow and head indicates the quality of mental power to the portraits of the two men. The head of Shakespeare, according to all the busts and pictures which remain to us, belongs to the type which antiquity has transmitted to us in the portraits of Homer and Plato. In this vast dome of thought there was room for everything. The head of Bacon is also a grand one, but less ample, less complete--less "Teres, totus atque rotundus." These portraits therefore agree with all we know of the writings, in showing us which, and which only, of the two minds was capable of containing the other. THE EVOLUTION OF A GREAT POEM[4] There are at least three existing manuscripts of Grays "Elegy," in the author's autograph. The earliest, containing the largest number of variations and the most curious, is that now in the possession of Sir William Fraser in London, and for which he paid the large sum of £230, in 1875. By the kindness of Sir William Fraser, I examined this manuscript at his rooms in London, in 1882. A facsimile copy of this valuable autograph, photographed from the original in 1862, is now before me. A second copy in the handwriting of Gray, called the Pembroke manuscript, is in the library of Pembroke Hall, Cambridge. A facsimile of this autograph appears in Matthias's edition of Mason's "Gray," published in 1814. A third copy, in the poet's handwriting, copied by him for his friend, Dr. Wharton, is in the British Museum. I examined this, also, in 1882, and had an accurate copy made for me by one of the assistants in the museum. This was written after the other two, as is evident from the fact that it approaches most nearly to the form which the "Elegy" finally assumed when printed. There are only nine or ten expressions in this manuscript which differ from the poem as published by Gray. Most of these are unimportant. "_Or_" he changed, in three places, into "and." "_And_ in our ashes" he changed into "Even in our ashes," which was a clear improvement. It was not until after this third copy was written that the improvement was made which changed "Forgive, ye Proud, the involuntary Fault, If Memory to These no Trophies raise," into "Nor you, ye proud, impute to these the fault, If Memory o'er their tomb no trophies raise." Another important alteration of a single word was also made after this third manuscript was written. This was the change, in the forty-fifth stanza, of "Reins of Empire" into "Rod of Empire."