The Life, Studies, and Works of Benjamin West, Esq Part 5

Mr. West found, on his arrival in London, several American families who had come across the Atlantic after the peace to visit their relations, and he had the unexpected pleasure of hearing that Mr. William Allen, Governor Hamilton, and Dr. Smith, his earliest friends and patrons, were in this country.

Mr. Allen, like many others in the colonies at that time, was both a professional man and a merchant. He held indeed the dignified office of chief justice in Pennsylvania, and was a person of powerful and extensive connections in the mother-country. Hamilton, who had been many years governor, was chiefly indebted to him for the rank which he enjoyed, in consequence of having married his sister.

The naval and military officers who had occasion, during the war, to visit Philadelphia, found in the houses of the governor and Mr. Allen a cordial hospitality which they never forgot. Many of these officers were related to persons of distinction in London, and being anxious to testify to the Americans their grateful sense of the kindness which they had experienced, rendered the strangers objects of hospitable solicitude and marked respect in the first circles of the metropolis. Mr. West, accordingly, on his arrival, partic.i.p.ated in the advantages of their favourable reception, and before he was known as an artist, frequented the parties of several of the highest characters in the state.

His first excursion from London was to Hampton Court to see the Cartoons of Raphael. Soon after, he visited Oxford, Blenheim, and Corsham; whence he proceeded to Bath, where Mr. Allen was at that time residing. Here he remained about a month; and in returning to town made a short tour, in the course of which he inspected the collections of art at Storehead, Fonthill, Wilton House, the Cathedral of Salisbury, and the Earl of Radnor's seat at Longford. At Reading he staid some time with his half-brother, Mr. Thomas West, the eldest son of his father. When he returned to London he was introduced by Mr. Patoune, his travelling companion from Rome, to Reynolds, and a friends.h.i.+p commenced between them which was only broken by death. He also, much about the same time, formed an acquaintance with Mr. Richard Wilson, the landscape painter, to whom indeed he had brought very warm letters of introduction, from some of that great artist's friends and admirers in Italy.

The first lodgings which Mr. West occupied, in his professional capacity, were in Bedford-Street, Covent-Garden, where, when it was understood that he intended to practise, he was visited by all the artists of eminence then in London, and welcomed among them with a cordiality that reflected great honour on the generosity of their dispositions. In this house the first picture which he painted in England was executed. The subject was Angelica and Medora, which, with the Cymon and Iphiginia, painted at Rome, and a portrait of General Moncton, (who acquired so much celebrity by his heroic conduct as second in command under General Wolfe at Quebec,) by the advice of Reynolds and Wilson, he sent to the exhibition in Spring Gardens in 1764.

While he was engaged on the picture of Angelica and Medora, Dr. Markham, then Master of Westminster-School, paid him a visit and invited him to a dinner, at which he introduced him to Dr. Johnson, Mr. Burke; Mr.

Chracheroide, and Mr. Dyer. On being introduced to Burke he was so much surprised by the resemblance which that gentleman bore to the chief of the Benedictine monks at Parma, that when he spoke he could scarcely persuade himself he was not the same person. This resemblance was not accidental; the Protestant orator was, indeed, the brother of the monk.

It always appeared to Mr. West that there was about Mr. Burke a degree of mystery, connected with his early life, which their long intercourse, subsequent to the introduction at Dr. Markham's, never tended to explain.

He never spoke of any companions of his boyhood, nor seemed to have any of those pleasing recollections of the heedless and harmless days of youth, which afford to most men of genius some of the finest lights and breaks of their fancy; and his writings corroborate the observation. For, although no prose writer ever wrote more like a poet than this celebrated man, his imagery is princ.i.p.ally drawn from general nature or from art, and but rarely from any thing local or particular.

The conversation after dinner chiefly turned, on American subjects, in which Mr. Burke, as may well be supposed, took a distinguished part, and not more delighted the Artist with the rich variety and affluence of his mind, than surprised him by the correct circ.u.mstantiality of his descriptions; so much so, that he was never able to divest himself of an impression received on this occasion, that Mr. Burke had actually been in America, and visited the scenes, and been familiar with many of the places which he so minutely seemed to recollect. Upon a circ.u.mstance so singular, and so much at variance with all that has. .h.i.therto been said respecting the early history of this eminent person, it is needless to dilate. The wonder which it may excite I have no means of allaying; but I should not omit to mention here, when Mr. Burke was informed that Mr. West was a Quaker, that he observed, he had always regarded it among the most fortunate circ.u.mstances of his life, that his first preceptor was a member of the Society of Friends.

Dr. Markham in 1765 introduced Mr. West to Dr. Newton, Bishop of Bristol, Dr. Johnson, Bishop of Worcester, and Dr. Drummond, Archbishop of York.

Dr. Newton engaged him to paint the Parting of Hector and Andromache, and afterwards sat to him for his portrait, in the back ground of which a sketch of this picture was introduced: and for the Bishop of Worcester he painted the Return of the Prodigal Son. The encouragement which he thus received from these eminent divines was highly creditable to their taste and liberality, and is in honourable contrast to the negligence with which all that concerned the fine arts were treated by the n.o.bility and opulent gentry. It is, however, necessary to mention one ill.u.s.trious exception.

Lord Rockingham offered Mr. West a regular, permanent engagement of 700 per annum to paint historical subjects for his mansion in Yorks.h.i.+re: but the Artist on consulting his friends found them unanimously of opinion, that although the prospect of encouragement which had opened to him ought to make him resolve to remain in England, he should not confine himself to the service of one patron, but trust to the public. The result of this conversation was a communication to Dr. Smith and Mr. Allen, of the attachment he had formed for the lady whom he afterwards married, and that it was his intention to return to America in order to be united to her. In consequence of this, an arrangement took place, by which the father of Mr.

West came over to this country with the bride, and the marriage was solemnised on the 2d of September, 1765, in the church of St. Martin in the Fields.

Chap. II.

Some Notice of Archbishop Drummond.--Mr. West paints a Picture for His Grace.--His Grace's Plan to procure Engagements for Mr. West as an Historical Painter.--Project for ornamenting St. Paul's Cathedral with Pictures.--Anecdote of Dr. Terrick, Bishop of London.--The Altarpiece of St. Stephens, Walbrook.--State of public Taste with respect to the Arts.--Anecdotes of Hogarth and Garrick.

In Archbishop Drummond Mr. West found one of the most active and efficient patrons that he had yet met with. This eminent prelate was esteemed, by all who enjoyed the pleasure of his acquaintance, for a peculiar dignity of mind, and a liberality of sentiment that reflected l.u.s.tre on his exalted rank. He had in his youth travelled on the Continent, and possessing an innate sensibility to the moral influence of the fine arts, had improved his natural taste by a careful inspection of every celebrated work to which he could obtain access. He lamented that in this great, flouris.h.i.+ng, and triumphant nation, no just notion of the value of the fine arts was entertained; and on all occasions, when a suitable opportunity presented itself, he never failed to state this opinion, and to endeavour to impress it on others. He frequently invited Mr. West to his table; and the Artist remarked that he seemed to turn the conversation on the celebrity which the patronage of the arts had in all ages reflected on the most ill.u.s.trious persons and families, addressing himself with particular emphasis to his sons. In the course of one of these conversations, he engaged Mr. West to paint for him the story of Agrippina landing with the ashes of Germanicus, and sent one of the young gentlemen to the library for the volume in which Tacitus describes the circ.u.mstances. Having read the pa.s.sage, he commented on it at some length, in order to convey to Mr. West an idea of the manner in which he was desirous the subject should be treated.

The painter, on returning home, felt his imagination so much excited by the historian's description, and the remarks of the Archbishop, that he immediately began to compose a sketch for the picture, and finished it before going to bed. Next morning he carried it to His Grace, who, equally surprised and delighted to find his own conception so soon embodied in a visible form, requested the Artist to proceed without delay in the execution of the picture.

In the interim, the Archbishop endeavoured, by all the means in his power, to procure encouragement for Mr. West to devote himself exclusively to historical composition; and with this view he set on foot a scheme to raise three thousand guineas to const.i.tute a fund, which would be a sufficient inducement for the Artist, in the first instance, to forego, at least for a time, the drudgery of portrait painting. But the attempt failed: so little was the public disposed to patronise historical subjects from the pencil of a living artist, that after fifteen hundred pounds were subscribed, it was agreed to relinquish the undertaking. As this fact is important to the history of the progress of the arts in this country, I present my readers with a copy of the subscription-paper, with the names and amount of the sums attached to them, by the respective subscribers,

In 1766 Mr. West made a proposal to his friend Bishop Newton, who was then Dean of St. Paul's, to present a gratuitous offering to the Cathedral, by painting a religious subject to fill one of the large s.p.a.ces which the architect of the building had allotted for the reception of pictures; and speaking on the design one day after dinner at the Bishop's when Reynolds was present, he said that the giving of the Law on Mount Sinai would make an appropriate subject. Reynolds was delighted with the idea of decorating St. Paul's by the voluntary offerings of artists, and offered to paint a Nativity as his contribution. A formal proposal was in consequence made to the Dean and Chapter, who embraced it with much satisfaction. But Dr.

Terrick, the Bishop, felt some degree of jealousy at the design being adopted, without consulting him, and set himself so decidedly against it that it was necessarily abandoned. Dr. Newtorn had, in his capacity of Dean, obtained (without reflecting that Terrick had a veto over all) the consent of the other curators of the Cathedral, namely, of the Lord Mayor, the Archbishop of Canterbury, and the King. "But," exclaimed Dr. Terrick, with the energy of an ancient martyr, "I have heard of the proposition, and as I am head of the Cathedral of the metropolis, I will not suffer the doors to be opened to introduce popery." It is to be hoped that the declaration proceeded from the fear implied, and not because Dr. Newton omitted to ask his consent before applying to the King and the Archbishop.

Mr. West was, however, too deeply impressed with the advantage which would accrue to the arts by inducing the guardians of the Church to allow the introduction of pictures, to be discouraged by the illiberality of the Bishop of London. He therefore made a proposal to paint an Altar-piece for the beautiful church of St. Stephen's, Walbrook, and it was accepted. In the same year his friend, Mr. Wilc.o.x, gave him a commission to execute another sacred subject, which he presented to the Cathedral of Rochester, and it is placed over the communion-table. In these biographical sketches it cannot be expected that a history of all Mr. West's numerous works should be related. It is the history of the Artist, not of his works, that is here written; and, therefore, except where the incidents connected with them are ill.u.s.trative of the state of public feeling towards the arts, it is unnecessary to be more particular. I have, however, prepared a complete catalogue of his designs, with such remarks concerning them as must satisfy any want that may be felt by this systematic omission in the narrative. I should, however, mention that, in this stage of his career, the two of his earliest pictures, which attracted the greatest share of public attention, were _the Orestes and Pylades_, and _the Continence of Scipio_. He had undertaken them on speculation, and the applause which they obtained, when finished, were an a.s.surance of his success and reward.

His house was daily thronged with the opulent and the curious to see them; statesmen sent for them to their offices; princes to their bedchambers, and all loudly expressed their approbation, but not one ever enquired the price; and his imagination, which had been elevated in Italy to emulate the conceptions of those celebrated men who have given a second existence to the great events of religion, history, and poetry, was allowed in England to languish over the unmeaning faces of portrait-customers. It seemed to be thought that the genius of the Artist could in no other way be encouraged, than by his friends sitting for their own likenesses, and paying liberally for them. The moral influence of the art was unfelt and unknown; nor can a more impressive instance of this historical truth be adduced, than the following anecdote of Hogarth, which Garrick himself related to Mr. West.

When that artist had published the plates of the Election, he wished to dispose of the paintings, and proposed to do so by a raffle of two hundred chances, at two guineas the stake; to be determined on an appointed day.

Among a small number of subscribers, not half what Hogarth expected, Garrick had put down his name; and when the day arrived he went to the artist's house to throw for his chance. After waiting a considerable time no other person appeared, and Hogarth felt this neglect not only as derogatory to his profession, but implying that the subscription had something in it of a mendicant character. Vexed by such a mortifying result of a plan which he had sanguinely hoped would prove, at least, a morning's amus.e.m.e.nt to the fas.h.i.+onable subscribers, he insisted that, as they had not attended, nor even sent any request to him to throw for them, that Garrick should go through the formality of throwing the dice; but only for himself. The actor for some time opposed the irritated artist; but at last consented. Instead, however, of allowing Hogarth to send them home, he begged that they might be carefully packed up, until his servant should call for them; and on returning to his house, he dispatched a note to the painter, stating that he could not persuade himself to remove works so valuable and admired, without acquitting his conscience of an obligation due to the author and to his own good fortune in obtaining them. And knowing the humour of the person he addressed, and that if he had sent a cheque for the money it would in all probability be returned, he informed him that he had transferred two hundred guineas at his bankers, which would remain at the disposal of Hogarth or his heirs, whether it was or was not then accepted. The charge of habitual parsimony against Garrick was not well founded; and this incident shows that he knew when to be properly munificent. In the acquisition and management of his affluent fortune, it would have been more correct to have praised him for a judicious system of economy, than to have censured him for meanness. It ought to have been considered, that he was professionally required to deal with a cla.s.s of persons not famed for prudence in pecuniary concerns, and to whom the methodical disburs.e.m.e.nts of most private gentlemen would probably have appeared penurious.

Chap. III.

Archbishop Drummond's Address in procuring for Mr. West the Patronage of the King.--Singular Court Anecdote of a Lady of Fas.h.i.+on.--Character of the King in his Youth.--Anecdotes of the King and Queen.--The King employs Mr. West to paint the Departure of Regulus.--Mr. West's Celebrity as a Skater,--Anecdote of Lord Howe.--His Fame as a Skater of great Service in his professional Success.

The coldness with which Archbishop Drummond's scheme for raising three thousand guineas had been received by the persons to whom he had applied, and the prejudice which he found almost universally entertained against the efforts of living genius, chagrined him exceedingly. He regarded the failure as a stigma on the age, and on his country; and, as a public man, he thought it affected himself personally. With this feeling, he declared to the gentlemen who had exerted themselves in the business, that he saw no way of engrafting a taste for the fine arts on the British public, unless the King could be so far engaged in the attempt, as to make it fas.h.i.+onable to employ living artists, according to the bent of their respective talents. But, about this period, the affair of Wilkes agitated the nation; and the Duke of Portland and Lord Rockingham, who were among the most strenuous of Mr. West's friends, being both of the Whig party, undervalued the importance attached to His Majesty's influence and countenance. The Archbishop was not, however, discouraged by their political prejudices; on the contrary, he thought that His Majesty was one of those characters who require to be personally interested in what it is desired they should undertake; and he resolved to make the attempt. The address with which His Grace managed the business, evinced great knowledge of human nature, and affords a pleasing view of the ingenuousness of the King's disposition.

When the picture of Agrippina was finished, the Archbishop invited the most distinguished artists and amateurs to give him their opinion of the work; and satisfied by the approbation which they all expressed, he went to court, and took an opportunity of speaking on the subject to the King, informing His Majesty, at the same time, of all the circ.u.mstances connected with the history of the composition; and on what principle he had always turned his conversations with Mr. West to excite an interest for the promotion of the arts in the minds of his family. The dexterity with which he recapitulated these details produced the desired effect. The curiosity of the King was roused, and he told the Archbishop that he would certainly send for the Artist and the picture.

This conversation probably lasted longer than the usual little reciprocities of the drawing-room; for it occasioned a very amusing instance of female officiousness. A lady of distinguished rank, having overheard what pa.s.sed, could not resist the delightful temptation of being the first to communicate to Mr. West the intelligence of the honour that awaited him. On quitting the palace, instead of returning home, she went directly to his house, and, without disclosing her name, informed him of the whole particulars of the conversation which had pa.s.sed between the Archbishop and the King. In the evening, Barnard, who had been an attendant on the King from the cradle, and who was not more attached to His Majesty, than he was himself in return affectionately beloved, came to Mr. West, and requested him to be in attendance next morning at the Queen's house, with the picture of Agrippina. In delivering the message, this faithful servant was prompted by his own feelings to give the Artist some idea of His Majesty's real character, which at that time was very much misrepresented to the public; and Mr. West during the long term of forty years of free and confidential intercourse with the King, found the account of Barnard to be in every essential and particular point correct.

The King was described to him as a young man of great simplicity and candour of disposition, sedate in his affections, and deeply impressed with the sanct.i.ty of principle; scrupulous in forming private friends.h.i.+ps; but, when he had taken any attachment, not easily swayed from it, without being convinced of the necessity and propriety of so doing.

At the time appointed, Mr. West was in attendance with the picture; and His Majesty came into the room where he was waiting. After looking at it some time with much apparent satisfaction, he enquired if it was in a proper light; and, on being told that the situation was certainly not the most advantageous, he conducted the Artist through several apartments himself, till a more satisfactory place was found. He then called several of the domestics into the room, and, indeed, a.s.sisted them himself to remove the picture. When the servants had retired, and he had satisfied himself with looking at it, he went out of the apartment and brought in the Queen, to whom he introduced the Artist with so much warmth, that Mr.

West felt it at the moment as something that might be described as friendliness.

The Queen, though at this period very young, possessed a natural graciousness of manner, which her good sense and the consciousness of her dignity rendered peculiarly pleasing; so that our Artist was not only highly gratified by the unexpected honour of this distinguished introduction, but delighted with the affability and sweetness of her disposition.

When Their Majesties had examined the picture, the King observed that he understood the same subject had seldom been properly treated. Mr. West answered, that it was, indeed, surprising it should have been neglected by Poussin, who was so well qualified to have done it justice, and to whose genius it was in so many respects so well adapted. His Majesty then told the Queen the history of the picture before them, dwelling with some expressions of admiration on the circ.u.mstance of the sketch having been made in the course of one evening after the artist had taken coffee with the Archbishop of York, and shown to His Grace the next morning. Turning briskly round to Mr. West, he said, "There is another n.o.ble Roman subject which corresponds to this one, and I believe it also has never been well painted; I mean the final departure of Regulus from Rome. Don't you think it would make a fine picture?" The Artist replied, that it was undoubtedly a magnificent subject. "Then," said His Majesty, "you shall paint it for me;" and, ringing the bell in the same moment, ordered the attendant who answered to bring the volume of Livy in which the event is related, observing to the Queen, in a sprightly manner, that the Archbishop had made one of his sons read to Mr. West; but "I will read to him myself the subject of my picture;" which, on the return of the servant with the book, he did accordingly. And the Artist was commanded to come with the sketch as soon as possible.

The Archbishop was highly delighted at the successful result of his scheme, and augured from the event the happiest influence to the progress of the arts; nor has his patriotic antic.i.p.ations been unrewarded; for, without question, so great and so eminent a taste for the fine arts as that which has been diffused throughout the nation, during the reign of George the Third, was never before produced in the life-time of one monarch, in any age or country.

But in relating the different incidents which contributed to bring Mr.

West into favourable notice, there is one of a peculiar nature, which should not be omitted. During winter, at Philadelphia, skating was one of the favourite amus.e.m.e.nts of the youth of that city, and many of them excelled in that elegant exercise. Mr. West, when a boy, had, along with his companions, acquired considerable facility in the art; and having become exceedingly fond of it, made himself, as he grew up to manhood, one of the most accomplished skaters in America. Some of the officers at that time quartered there, also practised the amus.e.m.e.nt; and, among others, Colonel Howe, who afterwards succeeded to the t.i.tle of his elder brother, and who, under the name of General Howe, is so well known in the disastrous transactions of the subsequent civil war, which ended in establis.h.i.+ng the independence of the United States. In the course of the winter preceding Mr. West's departure for Italy, they had become acquainted on the ice.

In Italy Mr. West had no opportunity of skating; but when he reached Lombardy, where he saw so much beautiful frozen water, he regretted that he had not brought his skates with him from America. The winter, however, which succeeded his arrival in England, proved unusually severe; and one morning, when he happened to take a walk in St. James's park, he was surprised to see a great concourse of the populace a.s.sembled on the ca.n.a.l.

He stopped to look at them, and seeing a person who lent skates on hire, he made choice of a pair, and went on the ice. A gentleman who had observed his movements, came up to him as he retired to unbuckle the skates, and said, "I perceive, Sir, you are a stranger, and do not perhaps know that there are much better places than this for the exercise of skating. The Serpentine River, in Hyde Park, is far superior, and the basin in Kensington Gardens still more preferable. Here, only the populace a.s.semble; on the Serpentine, the company, although better, is also promiscuous; but the persons who frequent the basin in the Gardens are generally of the rank of gentlemen, and you will be less annoyed among them than at either of the other two places."

In consequence of this information, on the day following, Mr. West resolved to visit the Gardens; and, in going along Piccadilly with that intention, bought a pair of skates, which, on reaching the margin of the ice, he put on, After a few trial-movements on the skirts of the basin, like a musician tuning his violin before attempting a regular piece of composition, he dashed off into the middle of the company, and performed several rounds in the same style which he had often practised in America.

While engaged in this manner, a gentleman called to him by name; and, on stopping, he found it was his old acquaintance Colonel Howe.

The Colonel immediately came up, and exclaimed, "Mr. West, I am truly glad to see you in this country, and at this time. I have not heard of you since we parted on the wharf at Philadelphia, when you sailed for Italy; but I have often since had occasion to recollect you. I am, therefore, particularly glad to see you here, and on the ice; for you must know that, in speaking of the American skaters, it has been alleged, that I have learnt to draw the long bow among them; but you are come in a lucky moment to vindicate my veracity."

He then called to him Lord Spencer Hamilton, and some of the Cavendishes, who were also on the ice, and introduced Mr. West to them as one of the American skaters, of whom they had heard him so often speak, and would not credit what he had said of their performance; and he requested Mr. West to show them what, in Philadelphia, was called the Salute. Mr. West had been so long out of practice, that he was at first diffident of attempting this difficult and graceful movement: but, after a few trials, and feeling confidence in himself, he at last performed it with complete success. Out of this trivial incident, an acquaintance arose between him and the young n.o.blemen present. They spoke of his talents as a skater; and their praise, in all their usual haunts, had such an effect, that, in the course of a few days, prodigious crowds of the fas.h.i.+onable world, and of all descriptions of people, a.s.sembled to see the American skater. When it was afterwards known to the public that he was an artist, many of the spectators called at his rooms; and he, perhaps, received more encouragement as a portrait-painter on account of his accomplishment as a skater, than he could have hoped for by any ordinary means to obtain.

Chap. IV.

The King's personal Friends.h.i.+p for Mr. West.--Circ.u.mstances which led to the Establishment of the Royal Academy.--First Exhibition of the Works of British Artists.--The Departure of Regulus finished, and taken to Buckingham House.--Anecdote of Kirby.--The Formation of the Royal Academy.--Anecdote of Reynolds.--The Academy inst.i.tuted.

The King, at the period when he was pleased to take Mr. West under his own particular patronage, possessed great conversational powers, and a considerable tincture of humour. He had read much, and his memory was singularly exact and tenacious: his education had, indeed, been conducted with great prudence, and, independent of a much larger stock of literary information than is commonly acquired by princes, he was fairly ent.i.tled to be regarded as an accomplished gentleman. For the fine arts he had not, perhaps, any natural taste; he had, however, been carefully instructed in the principles of architecture by Chambers, of delineation by Moser, and of perspective by Kirby; and he was fully aware of the l.u.s.tre which the arts have, in all ages, reflected on the different countries in which the cultivation of them has been encouraged to perpetuate the memory of great events. His employment of Mr. West, although altogether in his private capacity, was therefore not wholly without a view to the public advantage, and it is the more deserving of applause, as it was rather the result of principle than of personal predilection.

When Mr. West had made a sketch for the Regulus, and submitted it to His Majesty, after some conversation, as to the dimensions, the King fixed on an advantageous part of the walls in one of the princ.i.p.al apartments, and directed that the picture should be painted of a size sufficient to fill the whole s.p.a.ce. During the time that the work was going on, the Artist was frequently invited to spend the evening at Buckingham-house, where he was often detained by the King as late as eleven o'clock, on topics connected with the best means of promoting the study of the fine arts in the kingdom. It was in these conversations that the plan of the Royal Academy was digested; but it is necessary to state more particularly the different circ.u.mstances which co-operated at this period to the formation of that valuable inst.i.tution.

At the annual exhibitions of the paintings and drawings, which obtained the premiums of the Society for the Encouragement of Arts, Agriculture, and Commerce, it was then customary with artists to send occasionally their works to be exhibited with those of the compet.i.tors, as a convenient method of making themselves known to the public. But the visitors hearing from the newspapers only of the pictures which had gained the prizes, concluded that they were the best in the exhibition; and the works of the matured artists were overlooked in the attention paid to the efforts of juvenile emulation. This neglect mortified the artists, and induced them to form themselves into an a.s.sociation for the exhibition of their own productions. The novelty of this plan attracted much attention, and answered the expectations of those with whom it originated. Such was the state of things with the artists when Mr. West came to England; and to the first exhibition, after his arrival, he sent, as I have already mentioned, three pictures. The approbation which these works obtained, induced the a.s.sociation to elect him one of the directors, and he held this situation till, the society beginning to grow rich by the receipts of the exhibitions, the management of its concerns became an object of ambition.