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that beset him, he imagined a man who would have all the elements necessary for sympathy with him, but in an embodiment unlike his own: he must be a Jew, intellectually cultured, morally fervid—in all this a nature ready to be plenished from Mordecai's; but his face and frame must be beautiful and strong, he must have been used to all the refinements of social life, his voice must flow with a full and easy current, his circumstances be free from sordid need: he must glorify the possibilities of the Jew, not sit and wander as Mordecai did, bearing the stamp of his people amid the signs of poverty and waning breath. Sensitive to physical characteristics, he had, both abroad and in England, looked at pictures as well as men, and in a vacant hour he had sometimes lingered in the National Gallery in search of paintings which might feed his hopefulness with grave and noble types of the human form, such as might well belong to men of his own race. But he returned in disappointment. The instances are scattered but thinly over the galleries of Europe, in which the fortune or selection even of the chief masters has given to Art a face at once young, grand, and beautiful, where, if there is any melancholy, it is no feeble passivity, but enters into the foreshadowed capability of heroism.