In the latter respect he was beaten by all the blockheads of the school, but in his adornments he stood alone. His father put him apprentice to a silversmith, where he learnt to draw, and also to engrave spoons and forks with crests and ciphers. From silver-chasing, he went on to teach himself engraving on copper, principally griffins and monsters of heraldry, in the course of which practice he became ambitious to delineate the varieties of human character. The singular excellence which he reached in this art, was mainly the result of careful observation and study. He had the gift, which he sedulously cultivated, of committing to memory the precise features of any remarkable face, and afterwards reproducing them on paper; but if any singularly fantastic form or OUTRE face came in his way, he would make a sketch of it on the spot, upon his thumb-nail, and carry it home to expand at his leisure. Everything fantastical and original had a powerful attraction for him, and he wandered into many out-of-the-way places for the purpose of meeting with character. By this careful storing of his mind, he was afterwards enabled to crowd an immense amount of thought and treasured observation into his works. Hence it is that Hogarth's pictures are so truthful a memorial of the character, the manners, and even the very thoughts of the times in which he lived. True painting, he himself observed, can only be learnt in one school, and that is kept by Nature. But he was not a highly cultivated man, except in his own walk. His school education had been of the slenderest kind, scarcely even perfecting him in the art of spelling; his self-culture did the rest. For a long time he was in very straitened circumstances, but nevertheless worked on with a cheerful heart. Poor though he was, he contrived to live within his small means, and he boasted, with becoming pride, that he was "a punctual paymaster." When he had conquered all his difficulties and become a famous and thriving man, he loved to dwell upon his early labours and privations, and to fight over again the battle which ended so honourably to him as a man and so gloriously as an artist. "I remember the time," said he on one occasion, "when I have gone moping into the city with scarce a shilling, but as soon as I have received ten guineas there for a plate, I have returned home, put on my sword, and sallied out with all the confidence of a man who had thousands in his pockets.""Industry and perseverance" was the motto of the sculptor Banks, which he acted on himself, and strongly recommended to others. His well-known kindness induced many aspiring youths to call upon him and ask for his advice and assistance; and it is related that one day a boy called at his door to see him with this object, but the servant, angry at the loud knock he had given, scolded him, and was about sending him away, when Banks overhearing her, himself went out. The little boy stood at the door with some drawings in his hand. "What do you want with me?" asked the sculptor. "I want, sir, if you please, to be admitted to draw at the Academy." Banks explained that he himself could not procure his admission, but he asked to look at the boy's drawings. Examining them, he said, "Time enough for the Academy, my little man! go home - mind your schooling - try to make a better drawing of the Apollo - and in a month come again and let me see it." The boy went home - sketched and worked with redoubled diligence - and, at the end of the month, called again on the sculptor. The drawing was better; but again Banks sent him back, with good advice, to work and study. In a week the boy was again at his door, his drawing much improved; and Banks bid him be of good cheer, for if spared he would distinguish himself. The boy was Mulready; and the sculptor's augury was amply fulfilled.
The fame of Claude Lorraine is partly explained by his indefatigable industry. Born at Champagne, in Lorraine, of poor parents, he was first apprenticed to a pastrycook. His brother, who was a wood-carver, afterwards took him into his shop to learn that trade. Having there shown indications of artistic skill, a travelling dealer persuaded the brother to allow Claude to accompany him to Italy. He assented, and the young man reached Rome, where he was shortly after engaged by Agostino Tassi, the landscape painter, as his house-servant. In that capacity Claude first learnt landscape painting, and in course of time he began to produce pictures. We next find him ****** the tour of Italy, France, and Germany, occasionally resting by the way to paint landscapes, and thereby replenish his purse. On returning to Rome he found an increasing demand for his works, and his reputation at length became European. He was unwearied in the study of nature in her various aspects. It was his practice to spend a great part of his time in closely copying buildings, bits of ground, trees, leaves, and such like, which he finished in detail, keeping the drawings by him in store for the purpose of introducing them in his studied landscapes. He also gave close attention to the sky, watching it for whole days from morning till night, and noting the various changes occasioned by the passing clouds and the increasing and waning light. By this constant practice he acquired, although it is said very slowly, such a mastery of hand and eye as eventually secured for him the first rank among landscape painters.
