The elder Booth was a short, spare, muscular man, with a splendid chest, a symmetrical Greek head, a pale countenance, a voice of wonderful compass and thrilling power, dark hair, and blue eyes. His son's resemblance to him is chiefly obvious in the shape of the head and face, the arch and curve of the heavy eyebrows, the radiant and constantly shifting light of expression that animates the countenance, the natural grace of carriage, and the celerity of movement. Booth's eyes are dark brown, and seem to turn black in moments of excitement, and they are capable of conveying, with electrical effect, the most diverse meanings--the solemnity of lofty thought, the tenderness of affection, the piteousness of forlorn sorrow, the awful sense of spiritual surroundings, the woful weariness of despair, the mocking glee of wicked sarcasm, the vindictive menace of sinister purpose, and the lightning glare of baleful wrath. In range of facial expressiveness his countenance is thus fully equal to that of his father. The present writer saw the elder Booth but once, and then in a comparatively inferior part--Pescara, in Shiel's ferocious tragedy of _The Apostate_. He was a terrible presence. He was the incarnation of smooth, specious, malignant, hellish rapacity. His exultant malice seemed to buoy him above the ground. He floated rather than walked. His glance was deadly. His clear, high, cutting, measured tone was the exasperating note of hideous cruelty. He was acting a fiend then, and making the monster not only possible but actual. He certainly gave a greater impression of overwhelming power than is given by Edwin Booth, and seemed a more formidable and tremendous man. But his face was not more brilliant than that of his renowned son; and in fact it was, if anything, somewhat less splendid in power of the eye. There is a book about him, called _The Tragedian_, written by Thomas R. Gould, who also made a noble bust of him in marble; and those who never saw him can obtain a good idea of what sort of an actor he was by reading that book. It conveys the image of a greater actor, but not a more brilliant one, than Edwin Booth. Only one man of our time has equalled Edwin Booth in this singular splendour of countenance--the great New England orator Rufus Choate. Had Choate been an actor upon the stage--as he was before a jury--with those terrible eyes of his, and that passionate Arab face, he must have towered fully to the height of the tradition of George Frederick Cooke.