[Illustration: ABRAHAM LINCOLN] ------------------------------------------------------------------------ The Clark Mills mask, said Mr. John Hay, in a later number of the _Century Magazine_, is “so sad and peaceful in its infinite repose that the famous sculptor, Mr. St. Gaudens, insisted when he first saw it that it was a death-mask. The lines are set, as if the living face, like the copy, had been in bronze; the nose is thin, and lengthened by the emaciation of the cheeks; the mouth is fixed like that of an archaic statue; a look as of one on whom sorrow and care had done their worst, without hope of victory, is on all the features; the whole expression is of unspeakable sadness and all-sufficing strength. Yet the peace is not the dreadful peace of death; it is the peace that passeth understanding.” Speaking of Webster, Mr. O. F. Fowler, in his _Practical Phrenology_, said: “A larger mass of brain, perhaps, never was found, and never will be found, in the upper and lateral portions of any man’s forehead. Both in height and in breadth his forehead is prodigiously great.” The head of Clay, according to the same authority, was also “unusually large. It measured seven and three-eighths inches in diameter, and it was very high in proportion to its breadth; the reasoning organs were large, and the perceptive and semi-perceptive organs still larger.” Mr. G. P. A. Healy, the painter, said that Mr. Clay’s mouth was very peculiar; that it was thin-lipped, and extended from ear to ear. This last is not particularly noticeable in the familiar portraits of Clay, not even in that painted by Mr. Healy himself. Both Mr. St. Gaudens and Mr. Hartley incline to the opinion that the mask of Clay in my collection is a cast from the actual face, and, notwithstanding the fact that the eyelids are open, that it is from life. Lewis Gaylord Clark, writing in 1852 in HARPER’S MAGAZINE of Clay’s funeral, said: “His countenance immediately after death looked like an antique cast. His features seemed to be perfectly classical, and the repose of all his muscles gave the lifeless body a quiet majesty seldom reached by living human beings.” Comparing Calhoun with Webster, Mr. Fowler attributed to Calhoun the greater power of analysis and illustration; to Webster, the greater depth and profundity. In Calhoun he found, united to a very large head, an active temperament and sharp organs, the greatest peculiarity of his phrenology consisting in the fact that _all_ the intellectual faculties were very large. The casts of Webster and Calhoun were made in Washington by Clark Mills from the living faces—Calhoun’s in 1844, Webster’s in 1849; and they are, consequently, of no little interest and value. ------------------------------------------------------------------------ [Illustration: DANIEL WEBSTER] ------------------------------------------------------------------------ [Illustration: HENRY CLAY] ------------------------------------------------------------------------