At Philadelphia West obtained much employment as a portrait painter, and on the death of his mother, which occurred when he was about the age of eighteen, established himself in that profession, and by his skill and moderate prices (he used to charge twelve dollars) obtained a large number of patrons. Notwithstanding the hard work he performed in this way, he found time to execute an original work called “The trial of Susannah," and in this, as in the "Death of Socrates," the principal figures were carefully copied from living models. From Philadelphia West went to New York, still pursuing his profession with energy and success. During the eleven months he passed in the metropolis he painted another composition, entitled "A Student reading by Candle-light," and then, having sufficient means for the purpose, resolved to visit the classic shores of Italy. An opportunity soon occurred for taking ship to Leghorn, in company with a young gentleman, the son of a friend, who was going on the voyage for the benefit of his health. West was engaged on the portrait of Mr. Kelly, a merchant of New York, when he determined to sail from Philadelphia. He mentioned his plan to Mr. Kelly, who approved it, paid him for the picture, and gave him a letter to his agents in Philadelphia. West presented the letter, and was astonished to find that it contained an order for fifty guineas, 66 a present to aid in his equipment for Italy." We repeat this anecdote as an evidence of the good feeling and kindness which West received and undoubtedly deserved during his long career. West embarked in 1760, reached Leghorn in safety, and immediately proceeded to Rome, which he entered on the 10th of July, 1760. He never returned to America.

West was provided with excellent letters of introduction, and was at once introduced to Cardinal Albani, who, although nearly blind, was considered a great connoisseur. An anecdote is related of the first interview with this potentate, which we give for what it is worth. The cardinal passed his hand over the face of the young artist, in order to judge of his features. He was satisfied. "This young savage has good features, but what is his complexion? Is he black or white?" The English gentleman who introduced West replied that he was 66 very fair." "What!" cried the

astonished cardinal, "as fair as I am?" The interrogation caused much merriment, the cardinal not being remarkable for his beauty in this respect. When it was found that the young man was nei

ther black nor a savage, but fair, intelligent, and already an artist, he became the lion.

One of West's best advisers at this period was Mengs, a celebrated painter of the day. At his suggestion, he painted a portrait of Mr. Robinson, afterward Lord Grantham. Mengs found much to commend in the effort, accompanying his praise with some sensible advice. "You have already the mechanical part of your art,” he said; "what I therefore recommend to you is, examine every thing worthy of attention here, making drawings of some half dozen of the best statues; then go to Florence, and study in the galleries; then proceed to Bologna, and study the works of the Caracci; afterward visit Parma, and examine attentively the pictures of Corregio; and then go to Venice, and view the productions of Tintoretto, Titian, and Paul Veronese. When you have made this tour, return to Rome, paint an historical picture, exhibit it publicly, and then the opinion which will be expressed of your talents will determine the line of art which you ought to follow." It was some time before Mr. West was in a position to follow this judicious advice; but, owing to the liberality of his friends in America, he was at length able to do so under the most gratifying circumstances. He visited Florence, Bologna, and Venice, and on his return to Rome declared that the Apollo of Belvidere " was the exact resemblance of a young Mohawk warrior," and that the hieroglyphics on the Egyptian obelisk were exactly similar to those which appear on the wampum belts of the Indians. The object of his mission to Italy being now accomplished, he began to make preparations for returning to America, but, previous to doing so, determined, in accordance with his father's wish, to visit England. Having passed through Savoy into France (where he found much to instruct him), Mr. West arrived in England on the 20th of August, 1763.

In England Mr. West found so much encouragement that, contrary to his first intention, he resolved to settle there. He became acquainted with Sir Joshua Reynolds, and Mr. Richard Wilson, the celebrated landscape painter. He was introduced by Dr. Markham (afterward Archbishop of York) to Dr. Johnson and Mr. Burke, in the latter of whom he recognized the features of the chief of the Benedictine monks at Parma, and afterward discovered that they were actually brothers. In 1765, Dr. Newton, Bishop of Bristol, engaged him to paint "the Parting of Hector

and Andromache;" while for Dr. Johnson, then Bishop of Worcester, he undertook "the Return of the Prodigal Son." These commissions, and others which came to him, established his position as a historical painter. It was so far recognized that Lord Rockingham offered the rising artist an engagement of three thousand five hundred dollars a year if he would undertake to embellish his family mansion with pictures. Liberal as was this offer, West declined it, thinking, correctly enough, that his best patrons would be the public. Feeling easy in his mind concerning his future prospects, West consulted his heart on a matter which had engaged it for several years. Prior to his departure from America he had contracted a sincere affection for a young lady of the name of Shewell, and had paid his suit with such success that he was accepted. Now that the honors and riches of the world were at his command, he desired to make her his wife. At first it was his intention to undertake a voyage to America for the purpose of effecting the marriage, but this was prevented by a kind interposition of his father, who took the bride to England, where, on the 2d of September, 1765, she was wedded to the man of her choice.

Dr. Drummond, Archbishop of York, became one of West's most zealous patrons, and for him he painted the "Agrippina landing with the ashes of Germanicus." After hearing the passage of Tacitus in which is described all the circumstances of this mournful affair, and listening to the remarks of the prelate, our artist returned home, and composed a sketch for the picture, which was finished before going to bed. Next morning he carried it to the archbishop, who was both astonished and delighted to find his own ideas so forcibly endorsed by West. Perhaps for this reason he became doubly attached to our artist, and on the very first opportunity introduced him to the king, who graciously ordered a picture, “the Final Departure of Regulus from Rome,” and read from Livy the passage which he wished illustrated. The friendship between the king and West, thus commenced, lasted for upward of forty years. He was frequently invited to spend the evening at Buckingham House, where he generally remained, conversing on the best means of promoting the study of the fine It was in these conversations that the plan of the Royal Academy was first broached and discussed. An existing society, known as "the Society of Incorporated Artists," no longer an

arts.

swered the requirements of the time. Dissensions had occurred, and many of the most prominent members had withdrawn. The moment was propitious; the Royal Society was properly organized, Sir Joshua Reynolds elected president, and on the 10th of December, 1768, became an established institution of the country. At the first exhibition of the infant society West's "Regulus" was exhibited, and obtained much applause. The king's next commission was for "Hamilcar making his son Hannibal swear implacable enmity to the Romans." In the mean time Mr. West had finished one of his most celebrated pictures, namely, "the Death of Wolfe," a picture which has become world-wide in its reputation, but which created at the time a sensation even beyond its merits. This was owing to a daring innovation on the customs and usages of artists. Up to West's time it was usual in depicting modern heroic pieces to costume the characters in the flowing robes of the ancient Greek and Roman heroes. West dissented from this time-honored custom, and, in spite of remonstrances from very high authorities, painted the death of Wolfe in the dress of the actual persons. He thought he should gain far more in the life and truth of expression than he should lose in picturesqueness and grace. The result showed his sound judgment. Reynolds, who had opposed the innovation, acknowledged its force and manliness. "West has conquered; he has treated his subject as it ought to be treated; I retract my objections. I foresee that this picture will not only become one of the most popular, but will occasion a revolution in art." The picture did become one of the most popular, and did occasion a revolution in art, the good effects of which we observe to the present day.

It is unnecessary for the purposes of this sketch to dwell on each production of West's prolific pencil. He became firmly established in public favor, and each elaborate work which he produced received the instant attention of the art world. The king's admiration for the great artist was unbounded; and when he formed the design of erecting a magnificent oratory or private chapel at Windsor Castle, for the express purpose of illustrating the history of revealed religion, West was selected to fill the panels. "No subtle divine," says Mr. Cunningham, "ever labored more diligently on controversial texts than did our painter in evolving his pictures out of this grand and awful subject. He divided it into four dispensations-the Antediluvian, the Patriarchal, the

Mosaical, and the Prophetical. They contained, in all, thirty-six subjects, eighteen of which belonged to the Old Testament, the rest to the New. They were all sketched, and twenty-eight were executed, for which West received, in all, twenty-one thousand seven hundred and five pounds. A work so varied, so extensive, and so noble in its nature was never before undertaken by any painter."

On the death of Sir Joshua Reynolds, West was unanimously elected President of the Royal Academy, and continued in that honorable position to the time of his death. His first discourse was merely complimentary, but subsequently he delivered valuable dissertations on the principles of painting and sculpture, of embellishments and architecture; on the taste of the ancients; on the errors of the moderns, and on composition in general. He concluded one of these lectures in the following complimentary terms: "That our annual exhibitions, both as to number and taste, ingrafted on nature and the fruit of mental conception, are such, that all the combined efforts in art on the Continent of Europe in the same line have not been able to equal. To such attainments, were those in power but to bestow the crumbs from the national table to cherish the fine arts, we might pledge ourselves that the genius of Britain would in a few years dispute the prize with the proudest periods of Grecian or Italian art."

When George the Third became superannuated, West's income of a thousand pounds per year was suddenly stopped, and the pictures in the chapel of "revealed religion" discontinued. Having thus lost the royal patronage, the president determined to appeal to the public, and he did so with eminent success. Some of his best pictures were put on exhibition, and crowds of people went to see them. One of the most remarkable was the famous picture of "Christ healing the Sick," which was originally executed for the Philadelphia Hospital, but which was subsequently purchased by the British Institution for the sum of three thousand guineas. West parted with the picture "on condition that he should be allowed to make a copy, with alterations." In the copy which he transmitted to Philadelphia, he not only made alterations, but added an additional group. Its exhibition in the United States was attended with so much success that the committee were actually enabled to enlarge the hospital for the reception of no less than thirty additional patients.