THE name of GILBERT STUART will long be dear to those who had the advantage of an intimate acquaintance with him. His colloquial powers were of the first-rate order, and made him the delight of all who were thrown in his way, whether exercised to draw forth character and expression from his sitters, or in the quiet of a tête à tête, or to set the table in a roar while the wine circulated, as was but too much the custom of the time in which he lived.

Still dearer is the name of Stuart to every American Artist, many of whom remember with gratitude the lessons derived from his conversation and practice, and all feel the influence of that instruction which is derived from studying his works.

This eminent artist was born at Newport, Rhode Island, in the year 1757. His father was a native of Scotland, who had been compelled to leave the land of his birth in consequence of having participated in the rebellion of '45. Gilbert displayed in early life, as is common with all who have distinguished themselves as painters, an ardent love of the art. Talents he possessed which would have raised him to eminence in any pursuit. He was an only son, and his father very judiciously sent the boy to Scotland for his school education, the Provinces not abounding then, as the United States do now, with able teachers and competent seminaries. After acquiring the elements of classical knowledge, Gilbert returned to Rhode Island, but it was soon determined that he should make painting his profession, and for the purpose of studying the various branches of science necessary for a professor of the most arduous of the Fine Arts, the youth was again sent to Europe in the year 1774, with such letters as gained him the notice of our illustrious countryman, Benjamin West.

Mr. West was ever ready to direct the studies of those who aspired to become artists. That most of his pupils were Americans is only

to be attributed to that desire to become painters which his success created in the minds of his countrymen. His advice and instruction were freely given to all, but his attachment to the land of his nativity gave additional warmth to the welcome with which he received such Americans as had talents that promised success in the art he adored and excelled in.

Stuart's flow of animal spirits was, through life, sufficiently impetuous; at the age of seventeen, the tide was probably exuberant. He used to say, "When I first saw Mr. West I was an uncouth cub, and my clothing was half a century behind the fashion of the time. My good old master gave me much good advice as to my conduct at our first interview, and concluded with, "Remember, now you are in England, you must dress yourself as the English do." Very well, thinks I, I will show the old gentlemen that I know how the English dress themselves. Accordingly, next morning, I presented myself with my stockings drawn over my shoes and my waistcoat over my coat." Why, boy, are you mad?" he cried. "You told me, sir, to dress myself as the English do, and I knew that they always say, 'Put on your shoes and stockings, put on your coat and waistcoat,' so, sir, I have dressed myself according to direction."

However Gilbert Stuart may have dressed in 1774, when the writer of this sketch saw him in London ten years after, his dress emulated in style and costliness the leader of English fashion, the then Prince of Wales, "the observed of all observers." Stuart was then, in 1784, at the head of the young portrait painters, and the exhibition at Somerset House displayed his full-length generals, admirals, and nobles, to the admiring public, by the side of the portraits of Reynolds.

During the preceding ten years he had been thrown upon his own resources for the means of subsistence, and had experienced the fatherly care, as well as instruction of the benevolent West, of whom he spoke with reverence and gratitude in his latter days, though, according to his own account, he was an unruly subject during the days of his probation.

It is curious to observe the very different style of Stuart's painting from that of the master under whom he studied, and whose works were daily before him, and occasionally copied by him. The pupil had directed his attention to portrait, and the master delighted in the higher branches of the art. West, doubtless, saw that Stuart was the better portrait painter; and we know that when he saw the superiority of another in that branch he readily acknowledged it. When applied to for instruction by an artist now in this city, he readily gave it, but said, "If you wish to study portrait painting, go to Sir Joshua." Stuart spoke freely of his own superiority as a por