Introduction to West.-Begins his studies.

had thrown to a most convenient distance. There was General Mercer, dying in precisely the same attitude that West had adopted for Wolfe-two authors may think alike. A great deal of smoke completed the picture; which, with a copy of a print, served as my credentials to Benjamin West, who had consented to receive me.

"On my arrival, having procured London-made clothes, and sent forward my pictures, Captain Lawrence, my father's friend, accompanied me to Newman-street, and guided me through a long gallery, hung with sketches and designs, and then through a lofty antechamber, filled with gigantic paintings, to the inner painting-room of the artist. After my first introduction, Mr. West led us back to the room we had passed through, where my specimens were deposited. He first examined my drawing in India ink. I awaited my sentence. This is very well.' I felt that all was safe. But it only indicates a talent for engraving.' I sank from summer heat to freezing point-my friend seized the painting and unrolled it on the floor. The artist smiled-the thermometer rose. 'This shows some talent for composition.' He appeared pleased, and looking at the distant figures, smiled to see an awkward imitation of his own General Wolfe, dressed in blue, to represent the death of General Mercer; and the Yankees playing the part of the British grenadiers, and driving the redcoats before them. I was encouraged. We were directed to 84 Charlotte-street, Rathbone-place, where rooms had been engaged for me. Mr. West offered his casts for my practice, when I should be ready to draw.

"After seeing the lions of the Tower, and other parts of London, I sat down to draw in black and white chalks from the bust of Cicero; and having mastered that, in every point of view, I drew from the Fighting Gladiator, and my drawing gained me

Extreme diffidence.-Unprofitable employment of time.

permission to enter the Academy of Somerset House. I know not. why-perhaps because I was too timid and awkward to introduce myself, or to ask Mr. West to introduce me; but I never made use of the permission. I had an awe of distinguished men that caused many weaknesses in my conduct; a bashfulness that required encouraging, at the same time that I was first and boldest among my companions-but so it was; I went with my portfolio, port-crayon, chalks, and paper, and delivered them to the porter, made an excuse for not going in, and walked off. I never entered the school, nor saw my portfolio again.

"The drawings above mentioned, and a few pictures in oil, executed under the direction of Mr. Davy, who taught me to set a palette, as he had been taught in Rome, were all the records of my exertions to become a painter which the year 1784 produced.

"During this period of my life I was a favourite with my companions. I was by them supposed to possess humour and wit. I could sing to please my associates, but I did nothing to satisfy the man who had it in his power to serve me. My follies and my faults were reported and exaggerated to Mr. West, and as he saw no appearances of the better self which resided in me, (for there was a better self,) he left me to my fate.

"About this time I painted several portraits, and composed some historical pieces, the subject of one of which, and the only one which attained any thing like a finish, was from Hoole's Ariosto. I had attempted to represent Feran gazing with horror upon the ghost, who rises from the water with the helmet in his right hand, and points to it with his left. The steel armour of Feran had received a touch from my friend Raphael West. The When I showed this

ghost I had studied from the looking-glass.

picture to West I unexpectedly heard him say to one present,

Summons to return home.

'That figure is very good,' and turning towards him, I was on the point of saying, 'Rafe helped me with the armour,' when to my surprise I found that he pointed to the ghost, for which I had been my own model. On the same occasion, I showed the great painter a portrait I had painted. It was freely touched, well coloured, and full of expression-better than any thing I had done, by far. He gave it due praise, but observed, 'You have made the two sides of the figure alike; each has the same sweeping swell he looks like a rolling-pin.' I might have said truly that it was characteristic—but I took the lesson in silence, and made no defence, although I knew that my subject was, in fact, 'like a rolling-pin.' Silence, in this instance, may have been commendable; but my habit of silence, in presence of those whom I considered my superiors, was very detrimental to me. The person who asks for information gains it; the questioner may be at times irksome, but that is for want of tact. He should be a judicious questioner and a good listener. I stood in the presence of the artist and wondered at his skill, but I stood in silence, abashed, hesitating-and withdrew unenlightened-discouraged by the consciousness of ignorance and the monomaniacal want of courage to elicit the information I eagerly desired. Let every student be apprised that those who can best inform him, are most willing to do so

"This life of unprofitable idleness was terminated by a summons to return home, brought by Captain Watson, who informed me that my passage was paid, and that he should sail in August. Thus ended a residence in London, of sufficient length to have made a man of feebler abilities than my own, a painter; but my character was at first mistaken. I was discouraged, and led astray; and gave up the pursuit of my profession, for the pursuits which youth, health, and a disposition to please and be pleased,

Various pursuits.-Permanently a painter.-Large picture.

presented to me. In August, 1787, I embarked, to return home, in the same ship, that brought me, all alive with the best disposition to improve myself, to the metropolis of Britain, in 1784.

&c., were

my

father's By degrees,

"In due time, my pictures, canvasses, colours, landed, and I was installed as a portrait painter, in house, and had sitters, but I felt my own ignorance. my employers became fewer, my efforts were unsatisfactory to myself. I sought a refuge in literature, and, after a year or two, abandoned painting, and joined my father in mercantile business.

"In 1805 I engaged in theatrical speculations, and became a bankrupt. I next turned my attention to miniature painting, and found that I could make what were acknowledged likenesses. I was in earnest, and, although deficient even in the knowledge necessary to prepare ivory for the reception of colour, I improved, as it was necessary to make exertion to procure money for my family.

"After various vicissitudes, and changes of occupation, at the age of fifty-one I became permanently a painter. In a sick chamber, and in aiding to re-establish the American Academy of Fine Arts, many months now passed away. I was elected a director and keeper, had a salary of two hundred dollars a year, and rooms for painting assigned me; and painted, in 1817 and 1818, many portraits."

But business failing in New York, Mr. Dunlap spent the three following years chiefly in Norfolk and Montreal He returned to New York in 1821. "To paint a great picture," he continues, "now occupied all my thoughts. I purchased of my friend Sully, a canvass 18 feet by 12, but where was I to put a thing of that size, and have a proper light on it.

"I raised my canvass in the garret of a house I occupied in

The Christ Rejected.-Bearing the Cross.-Calvary. Leonard-street, with conflicting lights all below the centre of the cloth, and thus proceeded with my work all through a hot summer, sometimes discouraged, but generally pleased to see effects produced which I had thought beyond my power. In November I took down my canvass, and packed it for the purpose of transportation to Norfolk, where I purposed to pass a third winter, and I knew I had a better place than my garret to work on my picture, as well as a better prospect of lucrative employment while finishing it.

"On the 3d of June, 1822, I left Norfolk, I presumed for the last time. I engaged a young Irishman, who aspired to be a painter, to take charge of the Christ Rejected, and shipped it by the way of Baltimore for Philadelphia. I had reason to be satisfied with the impression made upon the public, and the surprise it excited among the artists.

"On the 23rd of February, 1824, I purchased a large unprepared cloth, and having nailed it to the floor of the garret, I gave it several coats of white lead, which being dry, I proceeded to outline the Bearing of the Cross, from the sketch previously made. So high and so low was the commencement of this my second big picture.

"My next exertion as an artist was the composition of a third picture, connected with the Crucifixion, which I called Calvary. This winter and spring I finished the sketch in oil, probably my best composition. Before transferring it to the large canvass, I painted from nature the principal figures and groups separately. I had none of that facility which attends the adept in drawing, and now felt the penalty of my folly, when I had the Royal Academy of England at my command, and the advice of the best historical painter of the age always ready to instruct me-and both neglected. I now, as for some years previous,