Webster's, there is one which seems designed as a sample of regular and classic form, a sedate study after a given model. Ford's "Perkin Warbeck" holds the same place on his stage as "Appius and Virginia" does on Webster's. In both plays there is a perfect unity of action, a perfect straightforwardness of design; all is clear, orderly, direct to the point; there is no outgrowth or overgrowth of fancy, there are no byways of poetry to divert the single progress of the story. By the side of "The Duchess of Malfi" or "The Broken Heart" they look rigid and bare. Both are noble works; Webster's has of course the more ardour and vehemence of power, Ford's has perhaps the more completeness of stage effect and careful composition. The firmness and fidelity of hand with which his leading characters are drawn could only be shown by a dissection of the whole play scene by scene. The simple and lofty purity of conception, the exact and delicate accuracy of execution, are alike unimpaired by any slip or flaw of judgment or of feeling. The heroic sincerity of Warbeck, his high courtesy and constancy, his frank gratitude and chivalrous confidence, give worthy proof of Ford's ability to design a figure of stainless and exalted presence; the sad strong faith of his wife, the pure and daring devotion of the lover who has lost her, the petulant and pathetic pride of her father, all melted at last into stately sympathy and approval of her truth in extremity of trial; and, more than all these, the noble mutual recognition and regard of Warbeck and Dalyell in the time of final test; are qualities which raise this drama to the highest place among its compeers for moral tone and effect. The two kings are faithful and forcible studies;