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propinquity to the biographic hero counts save in a few notable instances for very little or for nothing. The domestic pen is too often innocent of literary experience. The faculty of selection and arrangement is wanting, or is at any rate lost in the stream of cloudy panegyric. There are tendencies to emphasise the immaterial and to ignore the material. The sentimental image has to be protected at all hazards. How often has one found in biographies of distinguished men, which are compiled under the domestic eye or by the domestic hand, that youthful struggles with sordid poverty or suffering, that irregular experiences of budding manhood are ignored or half told from a misguided fear of disturbing,the sentimental bias. I may not reveal the secrets of my own prison-house. But I could recall many a surprising example of domestic anxiety to gloss over or misrepresent truthful and pertinent details in careers of immediate ancestors, because domestic illusion, which is often bred of the blindest conventions of propriety,