of imagination;
none has added more than Cooper; and his are all as distinct and actual
as the personages that stalk before us on the stage of history.

To be American, without falling into Americanism, is the true task that
is set before the native artist in literature, the accomplishment of
which awaits the reward of the best approval in these times, and the
promise of an enduring name. Some of our authors, fascinated very
excusably with the faultless models of another age, have declined this
condition, and have given us Spectators and Tattlers with false dates,
and developed a style of composition of which the very merits imply an
anachronism in the proportion of excellence. Others have understood the
result to be attained better than the means of arriving at it. They have
not considered the difference between those peculiarities in our
society, manners, tempers, and tastes, which are genuine and
characteristic, and those which are merely defects and errors upon the
English system; they have acquired the force and gayety of liberty, but
not the dignity of independence, and are only provincial, when they
hoped to be national. Mr. Cooper has been more happy than any other
writer in reconciling these repugnant qualities, and displaying the
features, character, and tone of a great rational style in letters,
which, original and unimitative, is yet in harmony with the ancient
models.

FOOTNOTES:

[A] The first and second editions appeared in Philadelphia, and the
third in Cooperstown. It was reprinted in 1830 in London, Paris, and
Brussels: and an abridgment of it, by the author, has been largely
introduced into common schools.

STATUE OF JOHN C. CALHOUN, BY HIRAM POWERS.

[Illustration]

The above engraving of the statue of JOHN C. CALHOUN is from a
daguerreotype taken in Florence immediately after the work was
completed, and therefore presents it as it came from the hand of the
sculptor, unmutilated by the accidents to which it was subjected in
consequence of the wreck of the Elizabeth. The statue of Mr. Calhoun was
contracted for, we believe, in 1845, and completed in 1850. It is the
first draped or historical full-length by Mr. Powers, and it amply
justifies the fame he had won in other performances by the harmonious
blending of such particular excellences as he had exhibited in
separation. It indeed illustrates his capacities for the highest range
of historical portraiture and characterization, and wi